River Shining through CD:

The three chamber works on this 2007 release from Lapis Island Records may give the impression that Peter Scott Lewis is an eclectic composer of a highly poetic nature, yet they also point to the importance of organization in his music and demonstrate a formal consistency that may not at first be apparent. A sublime, even dreamy mood is established at the beginning with "A Whistler's Dream" (2005), a four-movement work that could be viewed as a programmatic sonata for flute and piano, or conversely, as a somewhat formalized suite of four evocative tone poems; either way, its success is due to the strength of its long-breathed melodies; its rich, thirds-based harmonies; the evenness of its moods; and its balanced form. Lewis' musical language is often freely chromatic and quite rhapsodic in spirit, so it might seem on the surface that these pieces are loosely organized and nearly improvisational in origin; yet structure is always clear in Lewis' work, and the modified classical forms that he employs keep his expressions well within the expectations of chamber music. This is evident in the tightly organized "Serenade for Winds" (2005), which is quite tuneful and varied in effects, yet efficient in the development of ideas and compact in its partita-like arrangement. "River Shining Through" (2004) is indebted to the modern string quartet and is the most harmonically complex and energetic piece on the program; yet Lewis avoids the density and hyper-virtuosity that make many contemporary string quartets difficult to appreciate, and the lightness of its rhythms and clarity of its textures bring out the underlying dance impulses. The performances by flutist Timothy Day, pianist Marc Shapiro, the Dorian Wind Quintet, and the Ciompi String Quartet are all first rate in execution and interpretation, and they are handsomely served by the studio's responsive acoustics and exceptional engineering.
Blair Sanderson, All Music Guide

River Shining Through is well-crafted and engaging. Exploring ideal textures for string quartet, Lewis shows a knack for the medium. He gives the players some fun counterpoint through out, and spicy rhythmic ideas in the final two movements.

Lewis shows equal skill and intuition when writing for winds. Serenade for Winds is delightful and bouncy; with tender moments juxtaposed with driving chordal textures ("Serendipity"). Lewis' works are full of contrast, alternating between complex harmonic motions and simple melodies.
Sequenza 21 (August, 2007)

Atlantic Crossing/Rhapsodic Images CD:

"For me, this is the contemporary discovery of 2004." Julian Haylock, The Strad
(Complete Review Below)

Atlantic Crossing is Peter Scott Lewis' 2002 violin and piano version of his 1996 Violin Concerto, originally premiered in Rotterdam by the violinist on this recording, Kees Hülsmann. Cast in four movements, with an extended Lisztian introduction, it's a work who myriad stylistic points of reference are negotiated here with chameleon-like ease. Late Delian chromaticism colours the more reflective passages of the first movement (An Awakening/Bright Morning!), while the dramatic opening of the finale (Arrival) initially pays homage to Stravinsky's Violin Concerto, yet continues with music of a tonally free, dancing, Bergian intensity. Hülsmann plays with a Ferras-like jewelled accuracy, employing an extraordinary range of bow pressure, speed, and articulation. This is big-personality playing of exquisite subtlety, which ensures that the music's post-Romantic gesturing emerges as a compelling narrative. Stunning pianism, too, from Matthew Edwards, is ideally complemented by a high-impact yet atmospheric recording.

Rhapsodic Images was (unusually) a three-way commission from the Bakken, Raphael and Robert Schumann trios. Completed in July of 1998 and scored for traditional piano trio, it is cast in two movements, the first of which is an extended (18-minute) rhapsody which fluctuates hauntingly between soaring lyricism and rhythmic potency. The four-and-a-half minute Epilogue which rounds out the piece is a separate coda that reflects upon the music heard in the previous movement with heart-warming affection. Amy Hiraga and Peter Wyrick, currently members of the San Francisco Symphony, and pianist Marc Shapiro sound intoxicated by the kaleidoscopic iridescence and sheer verve, effortlessly carrying the listener along with them. For me, this is the contemporary discovery of 2004.
Julian Haylock, The Strad, London, England: December, 2004

San Francisco composer Peter Scott Lewis writes music that deftly balances vibrant dissonance and lyrical, slightly post-minimalist textures. It's smart, intricately crafted, and it makes a willing, even urgent appeal to a listener's sensibilities. The two substantial works on this new CD show Lewis at his most ambitious, and the results are gripping and almost deceptively forthright. "Atlantic Crossing," an arrangement for piano and violin of the composer's Second Violin Concerto, boasts a wealth of strong-limbed melody; the performance, by violinist Kees Hülsmann and pianist Matthew Edwards, is fearless. Also included is "Rhapsodic Images," a freer, more overtly ingratiating trio played with wonderful passion by violinist Amy Hiraga, cellist Peter Wyrick and pianist Marc Shapiro (all of the San Francisco Symphony).
Joshua Kosman, Datebook: San Francisco Sunday Chronicle (11-21-04)

The disc contains two of the composer's major efforts. Rhapsodic Images, is an immediately winning work for the conventional complement of a piano trio (piano, violin, and cello). There are moments aplenty of genuine melodic and rhythmic interest that held my attention throughout. (…quite attractive and engaging.)

The piece is played here by a trio of musicians (Amy Hiraga, violin; Peter Wyrick, cello; and Marc Shapiro, piano), all with notable credentials, and all currently members of the San Francisco Symphony.

Kees Hülsmann, who premiered the work (Atlantic Crossing), must surely know the solo violin part inside out. He is a fine artist with a distinguished career and reputation, and I have to assume that his performance of the piece here is beyond question.
Jerry Dubins, Fanfare Magazine, September/October, 2005

Three Suites for Guitar CD:

The music is all fresh and the playing superb.

The First Suite (1977) is the most melodic and direct. The Second Suite (1979, epilogue 2000) is more of the same, but not so tightly constructed.

The Third Suite (2000), which opens the disc, is the thorniest, with the most abstract melodic material and asymmetrical rhythms. Yet you sense you are in on the composer's deepest thoughts.
Stephanie von Buchau: Oakland Tribune (Syndicated to many papers): 9-24-04

These three guitar suites present a convincing fusion of many styles and attitudes-blues-inflected harmonies sit comfortably alongside diatonically oriented flamenco figurations; minimalism with the Classical languages of Sor and Carulli. There are also spiritually borrowed moments from such Latin American composers as Agustin Barrios-Mangoré and Carlos Guastavino, often leavened with quite natural jazz syncopations. That last element, however, is subsumed into contexts that bring Bach's sonatas and partitas for solo violin and solo cello to mind-works that were, in their time, inspired by the age-old impulses to sing and to dance.

Lewis's guitar technique is utterly clean and precise. He has a fine understanding of his comparatively quiet instrument's paradoxically awesome dynamic range. His chord voicings are organ-like, and his ability to float his often-austere melodies over large time stretches is satisfying.

The sound is state of the art.

In sum, if you are a guitar aficionado, this release is essential.
William Zagorski, Fanfare Magazine, March/April, 2004

A COMPELLING, SELF-PENNED, SELF PERFORMED RECITAL FROM AN URGENT BUT ELUSIVE ARTIST

Guitarists spend so much time alone that it is no wonder the music they play often expresses deep yearning for communication with the outside world. Peter Lewis' three suites for guitar are personal and introspective ruminations that occasionally compel the listener to feel twinges of guilt for crashing the private party. But the pieces are also appealing and subtly coloured, so the guilt quickly morphs into appreciation.

Lewis composed the first two suites in the late 1970s, when he was under the influence of guitar masters and teachers Alirio Diaz and Carlos Barbosa-Lima. Even so, these pieces only momentarily bask in Spanish influences, instead embracing impressionistic harmonies, recitative-like phrases and borrowings from Northwest Indians. The Third Suites, written in 2000, isn't light years away creatively from the earlier pieces, but its languished sighs, asymmetrical metres and motoric elements, complete with dashes of flamenco spices, are vivid and entrancing. Lewis' music exudes songfulness, as when he tries for exuberance (as in the “Burlesque” movement of the first suite, which is based on a tritone), he sees the dark side of things.

The composer plays his own scores with all the urgency and commitment one would expect from a performer who knows the music from the inside out. There isn't a wasted gesture or hesitant moment in these interpretations, a rather remarkable feat for an artist who hasn't appeared in public since 1985. The intimate acoustics enhance Lewis's restrained virtuosity.
Donald Rosenberg, Gramophone Magazine, London, England: December 2003
(Complete Special Feature Review)

Five Page Feature Article Published. 
Guitar Review, New York: Summer/Fall, 2003

Featured: The New Releases With Michael Barone
Nationally Syndicated Program (US)
Produced by Minnesota Public Radio for NPR (6-12-03)

Peter Lewis is featured here as the soloist in his own four-movement Three Suites, works that show off the formidable technique Lewis commands — his right hand is particularly amazing, capable of the most fleet-flowing repeated notes. Tuneful and highly rhythmic, the suites (especially the last one) have an improvisational feel, with repeated passages that alter slightly and gradually metamorphose into completely different material. The writing exploits the guitar's resources very stylishly.
By Melinda Bargreen, Seattle Times (5-11-03)

A wonderful CD. Exquisite!
J.L. Bueno, La Otra Musica, FM80, Cadiz, Spain (4-28-03)

The guitar suites are wonderfully haunting. I remember what Stravinsky said about the guitar: not small but as from far away. The music brings those distances home. I’ve listened to it over and over. Bravo!
J.D. McClatchy, Renowned Poet, Critic, and Editor: The Yale Review (4-18-03)

Thank you for this day that shines in the Valley like a jewel.
Robert Sund: The late, great, Northwest poet
(Premiere of First Suite for Guitar)

Where the Heart is Pure CD:

Peter Scott Lewis is a composer of considerable talents. ... solid construction ... strong rhythmic sections ... luminous ... ably performed by Kees Hulsmann and The Berkeley Symphony Orchestra ... under Stephanie Friedman's flawless diction ... Robin Sutherland's fine solo performance.
Phillip George: 20th Century Music

San Francisco composer Peter Scott Lewis writes in an attractive tonal idiom that appeals to both the heart and mind. The music is euphonious and often disarmingly pretty, but with a core of strength that shows itself in surprising harmonic choices and vigorous instrumental textures.

Where The Heart Is Pure: ... a thoughtful and varied song cycle to poems of Robert Sund. The vocal writing shows equal concern for the shape of the poetry and for the autonomous demands of melody, and mezzo-soprano Stephanie Friedman gives a beautifully crafted performance. Violin Concerto: ... with vibrant sections... receives a committed performance from Kees Hulsmann. Delicate Sky: an offbeat, charming trio, gets a finely wrought performance by violinist Nadya Tichman, percussionist Jack Van Geem, and pianist Robin Sutherland.
Joshua Kosman: San Francisco Sunday Chronicle

The mood throughout is romantic without clichés, the writing contemporary without contrivance. The piece makes demands on the soloist in ways that are both exciting and rewarding, with fresh sounds deftly woven into the total fabric. Above all, it is an easy piece to listen to, yet one that promises fresh insights on rehearing.

Particularly attractive was an ostinato figure in the orchestra during the second movement that provides momentum over which the violin unfolds a lyrical melody.
Janet Livingstone: The Montclarion: Oakland, CA (Violin Concerto)

Composer PETER SCOTT LEWIS uses the poetry of Northwest American poet Robert Sund to very different effect. Where The Heart Is Pure (New Albion) is sung by mezzo soprano Stephanie Friedman and performed by the Berkeley Symphony Orchestra. Both composer and poet capture the misty shades of the Northwest hills in their music and words, and while this is in the "new classical" vein, it will nonetheless appeal to any audience with good ears and an adventurous spirit.
Steve Taylor: Hollow Ear Review

Peter Scott Lewis is a west coast composer, now living in San Francisco... What you find is a serious, straightforward neo-romanticism, almost Bergian, without the Viennese master's edge. Written in the mid 1980s, at the height of a flowering of concerto composition in the United States, Lewis' Violin Concerto is a fine example of the genre. It is challenging for the soloist and accessible to the audience, without pandering or condescending. Kees Hulsmann gives a fine performance. The other pieces are also quite good, especially Delicate Sky for violin, piano, and percussion, which recalls a less dense and more colorful John Harbison. All of the performers are excellent, as are New Albion's sound and packaging.
Stephen D. Hicken: American Record Guide

Peter Scott Lewis' new CD creates orchestral music, joined by unique chamber music, blended in a careful manner. The first composition, Violin Concerto, is embellished with vitality and much calm. In contrast, Where The Heart Is Pure, a composition dedicated to Pablo Casals, the results are more rigorous and extroverted. In Delicate Sky, specially composed for this CD, the composer creates a climax with a simple and correct ascension. Lastly, Sun Music is a brief exercise for the piano which is accentually dramatic.
P.M. : juke VOICE, Spain

Beaming Contrasts CD:

**** PERFORMANCE: Excellent   SOUND: Excellent

This CD is a real find. It is a great recording of what might best be described as post-modern chamber music by the California composer Peter Scott Lewis. Beaming Contrasts and Through The Mountain are the two highlights. They are both substantial new works that deserve to become staples of the contemporary chamber music repertoire. Yet the other three striking compositions are far from just filler. For anyone interested in contemporary chamber music, this well played and recorded CD is an essential acquisition.
Arnold van der Valk: Classical Express

Delightful... Shimmering...Skillful. Unmistakably the work of an alert young American. Recommended.
Scott Wheeler: Fanfare Magazine

San Francisco composer Peter Scott Lewis writes music marked by an appealing combination of intricacy and rhetorical straightforwardness, and the five pieces included here -- in excellent performances by San Francisco based musicians -- afford a good entree to his work. The most immediately accessible work is the opening “Journey To Still Water Pond,” a quietly colorful nature portrait for vibraphone, marimba, and string quartet. But there are other pleasures here, too -- particularly the far-ranging title piece, which gets a suitably protean rendition by guitarist David Tanenbaum and the Alexander String Quartet.
Joshua Kosman: San Francisco Sunday Chronicle

Peter Scott Lewis' new CD on New Albion is something completely different. The piece that has held my attention (and garnered plenty of response from WPKN listeners) is “Journey To Still Water Pond.” Lewis develops a beautiful tension between strings and percussion that grips you tightly. Another exciting piece is “Little Trio,” a mix of aggressive exchanges and romantic phrases.
CMJ, Bridgeport, CT (WPKN FM Radio)

Peter Scott Lewis' new CD of chamber music is passionate, yet lyrical. This is music making by a virtuoso composer.
Mitsuo Yamada: Esquire/Japan: Tokyo

Beaming Contrasts is a driving, full of jagged, jazz like rhythm; an earnest piece, tightly constructed, and telling in its use of dissonance.
Reid Guillamore: Guitar Review: New York, NY.

It is obvious that the composer (having written a guitar concerto) knows the instrument well and exploits his aural resource with a fine ear.
Sorab Modi: Strad Magazine: London, England: (Beaming Contrasts)

The boldest essay was Peter Scott Lewis' Beaming Contrasts (1989), a dialectic of steel and catgut exploring both differences and similarities between string and guitar textures. The amplified guitar strident, biting nature seemed to slice air when the duo played in jazzy syncopation with the quartet.
Marion Jacobson: The Washington Post

A Finely Crafted Composition. (Beaming Contrasts)
James R. Oestreich: The New York Times

A short, two movement piece (played as one), Night Lights derives its musical from, of all things, melodies-lyrical melodies with strong, clear profiles. That, along with the committed, no-hold-barred performance by the Alexander, made the work absorbable on a first hearing without sounding facile or glib.
Timothy Pfaff: The San Francisco Examiner

Lewis: Guitar Concerto CD:

The composer Peter Lewis has the rare ability to make the language of his compositions emotionally accessible to the listener. Although not all his works for guitar are atonal, his Guitar Concerto is melodically and harmonically abstract and also rhythmically complex. However, the music does not perplex, but is surprisingly pleasing and sensual. Herein lies the composer's originality.
Brian Hodel: Guitar Review: New York, NY

The work has a number of highly lyrical passages interspersed with spiky segments, all combining into a constantly absorbing whole.
Donald P. Delany: The Times: Trenton, NJ. (Guitar Concerto)