LA Times (Richard S. Ginell):
On a first listen, Adams’ devil of a concerto wasn’t exactly brimming with good tunes (except for the steal from Mancini). But it did make a fine, energetic, jumping noise that could only have come from an American composer with an eye on popular culture.
Robert Gauthier / Los Angeles Times
LA Weekly (Falling James)
Wang dialed up jazzy, circular flurries of notes on the piano’s higher keys even as a feeling of urgent anxiety welled up from the rest of the orchestra. At times, the musicians in the string section clicked and clattered their bows in unison as a form of percussion. Adams’ half-hour concerto was divided into three sections but the whole piece moved forward seamlessly without a break.
Eventually, Must the Devil Have All the Good Tunes? shifted into a slower, calmer section as the strings segued into a gentler interlude, which Wang anointed with light, tinkling phrases on piano.