In a decidedly humorless new-music climate, Dorman is a breath of fresh air. Outstanding performances, too.

While no one will mistake it for the mature voice found in the Mandolin Concerto, the youthful exuberance of the Piano Concerto is frequently charming.

Pianist and composer Timo Andres discusses the story behind his new works, his first album release, his influences, and upcoming projects.

For all their eclecticism, these pieces reveal a strong common profile—with tragic ferocity lurking under the sparkling surfaces.

The music of Israeli composer Avner Dorman is so vivacious and so technically proficient that it’s hard to resist… most rewarding is the Mandolin Concerto, which fuses Baroque and Middle Eastern gestures in unusual ways, and which ends with a surprising flourish.

This wonderful program of three concertos and one concerto grosso, all beautifully performed and recorded, is nearly enough to restore the confidence of the most hardened pessimist in the future of classical music.

Many will respond to the joyousness of the writing and youthful enthusiasm of the performances on offer.

The playing of the Metropolis Ensemble led by Andrew Cyr is excellent: sensitive, supportive, very accurate and finely balanced, with a lot of spirit.

Avner Dorman writes with an omnivorous eclecticism that makes his music on Concertos both accessible and impossible to pigeonhole.

“This is really good stuff, a genuine discovery, beautifully played and excellently engineered. It will make you feel good about the future of contemporary Classical music.”

Call it a guilty pleasure, but it’s great fun and filled with a youthful joy of music making. Pianist Eliran Avni is sensational.