There was a time when the appearance of music by John Corigliano and Elliott Carter on the same record might have raised eyebrows: In the world of concert music, these two respected composers stood as twin poles of a long-standing musical schism. Time passes, things change, gardes get recast, and, as this record demonstrates, there is plenty to admire, respect, thrill to and even love in both pieces. Corigliano’s epoch-making (and this is not hyperbole; this piece changed things) is a dynamic and forceful exercise in raw orchestral sound, with three movements rich in variety and mood: the playfulness of “Cadenzas”; the sheer gorgeousness “Elegy”; and the everything-but-the-kitchen-sink closing of Antiphonal Tocatta.” By way of both contrast and concomitance, Carter’s taut single movement struts and frets, plinks and plunks in a well-paced way, giving both the performers and the listener more than enough to ponder, to hear, to adore. Eddy Vanoosthuyse’s nuanced performances of both demanding works is well matched and given appropriate space to breathe by Paul Meyer and the spot-on Brussels Philharmonic.
By Jon Lusk on 05.19.08 in Reviews
Atahualpa Yupanqui was the stage name of the late Héctor Roberto Chavero Aramburo, considered to be Argentina's greatest twentieth century folk musician. Roberto Aussel in turn is the most widely acclaimed con...
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She is no longer the goofy but serious alien girl with the long flowing hair; instead she’s a sage.
By Justin Davidson on 12.02.14 in Features
Justin Davidson examines the way recent solo cello albums by Alisa Weilerstein, Jeffrey Ziegler and Maya Beiser reinvent that wordless, eloquent voice.
By Ami Armstrong on 11.26.14 in Features
Stream the Punch Brothers documentary 'How to Grow a Band' this week.