Author Archives: laf3adm
EA Bucket 21.
The best ea defies explanation and labeling. We find ourselves in a world where the familiar takes on varying expressions.
EA Bucket 21.
The best ea defies explanation and labeling. We find ourselves in a world where the familiar takes on varying expressions.
Four Centuries Apart 4.
Get this disc by Josie and the Emeralds, an enterprising soprano and quartet of viols in Australia, for the two-thirds that’s new to us.
Four Centuries Apart 4.
Get this disc by Josie and the Emeralds, an enterprising soprano and quartet of viols in Australia, for the two-thirds that’s new to us.
Not an Encomium for Pierre Boulez
Pierre Boulez, the maître, will turn 90 next month. This occasion engenders a poem and a brief acknowledgment of conflicted thoughts.
Not an Encomium for Pierre Boulez
Pierre Boulez, the maître, will turn 90 next month. This occasion engenders a poem and a brief acknowledgment of conflicted thoughts.
Used Bin Troll Tweets K.
Alas, they don’t make them like this anymore!
Percussion with Pianos
There are old and new friends to be found in Edwardes’ excellent recital.
Percussion with Pianos
There are old and new friends to be found in Edwardes’ excellent recital.
Mostly Symphonies 26.
Babbitt’s All Set is a snazzy twelve-tone piece for jazz ensemble. Were it scored for a Pierrot ensemble it might seem bone dry, and if a jazz combo were provided atonal charts, this wouldn’t be the result. Regardless, I can’t help but listen and grin throughout.
Mostly Symphonies 26.
Babbitt’s All Set is a snazzy twelve-tone piece for jazz ensemble. Were it scored for a Pierrot ensemble it might seem bone dry, and if a jazz combo were provided atonal charts, this wouldn’t be the result. Regardless, I can’t help but listen and grin throughout.
A Look at Chopin’s Piano Sonata in B-flat minor, Op. 35
The music unfolds in a great arc of color, motion and sweep. One is reminded of an hallucination owing to the music’s lack of obvious form – as if no bar lines or structure existed. Arthur Rubinstein called it “wind howling around the gravestones.”
A Look at Chopin’s Piano Sonata in B-flat minor, Op. 35
The music unfolds in a great arc of color, motion and sweep. One is reminded of an hallucination owing to the music’s lack of obvious form – as if no bar lines or structure existed. Arthur Rubinstein called it “wind howling around the gravestones.”
Acoustic Revive’s Triple-C Finemet Interconnects and Triple-C SPC Reference Speaker Cables
When a cable substitution enriches the stereo image, begin by saying so. Triple-C Finemet cables indeed enrich the stereo image.
Acoustic Revive’s Triple-C Finemet Interconnects and Triple-C SPC Reference Speaker Cables
When a cable substitution enriches the stereo image, begin by saying so. Triple-C Finemet cables indeed enrich the stereo image.
(Dis)Arrangements 5.
In a mood to recycle, Sciarrino generally prefers to rummage through his own material. However, this disc presents a few pieces which adapt and twist others.
(Dis)Arrangements 5.
In a mood to recycle, Sciarrino generally prefers to rummage through his own material. However, this disc presents a few pieces which adapt and twist others.
Atopos Survey 3.
We come to a third and final installment in a survey of Atopos recordings. It’s not that I’ve saved the best for last, but rarities, yes. Any recordings of Vinko Globokar and Jean-Pierre Drouet, whether together or separate, are a reason to celebrate.
Atopos Survey 3.
We come to a third and final installment in a survey of Atopos recordings. It’s not that I’ve saved the best for last, but rarities, yes. Any recordings of Vinko Globokar and Jean-Pierre Drouet, whether together or separate, are a reason to celebrate.
Concerto Concentrations 3.
City Noir’s three connected panels satisfy Adams’ need to extend and revive his impressions of old movie cues. The gestures are immediately familiar, yet they’re Adams’ own.
Concerto Concentrations 3.
City Noir’s three connected panels satisfy Adams’ need to extend and revive his impressions of old movie cues. The gestures are immediately familiar, yet they’re Adams’ own.
Of Ephemera
Critics and the artists that they cover are allies in having an inflated estimation of their own worth. Perhaps the former have been deluded into thinking that the act of reviewing, reflexive instead of creative, is of inherent heft.
Of Ephemera
Critics and the artists that they cover are allies in having an inflated estimation of their own worth. Perhaps the former have been deluded into thinking that the act of reviewing, reflexive instead of creative, is of inherent heft.