Articles tagged 'Sciarrino'
String Theory 11: Cellos Mostly
Monteverdi and Scelsi are well paired. Both could infuse a line, vocal or otherwise, with mysticism or elemental passion and create impetuous and visceral statements.
String Theory 11: Cellos Mostly
Monteverdi and Scelsi are well paired. Both could infuse a line, vocal or otherwise, with mysticism or elemental passion and create impetuous and visceral statements.
Italian Vacation 10: Recent Sciarrino on Kairos
Taking advantage of the quartet’s ability to execute microtones and glissandos, longer pitches quiver and slide like entreating vowels. These pleading lines are often prefixed or suffixed for pungency with a jumping interval.
Italian Vacation 10: Recent Sciarrino on Kairos
Taking advantage of the quartet’s ability to execute microtones and glissandos, longer pitches quiver and slide like entreating vowels. These pleading lines are often prefixed or suffixed for pungency with a jumping interval.
Random Noise 35: Monastic Cell, but Comfy
I like to think of myself as a man of (tenuously connected) parts…
Random Noise 35: Monastic Cell, but Comfy
I like to think of myself as a man of (tenuously connected) parts…
String Theory 3: Viols and Violas
What are the odds that we’d have two shakes at one Aperghis opus?
String Theory 3: Viols and Violas
What are the odds that we’d have two shakes at one Aperghis opus?
String Theory 1: Violins and Violas
In unceasing motion, Oesterle juggles 70 four-pitch groups into repeating patterns, generally double-stops with frequent harmonics, uneven rhythmic profiles and infrequent fast notes.
String Theory 1: Violins and Violas
In unceasing motion, Oesterle juggles 70 four-pitch groups into repeating patterns, generally double-stops with frequent harmonics, uneven rhythmic profiles and infrequent fast notes.
Dipping into the “EA” Bucket 2.
But this is choral music! Nevertheless, these four works reflect an electronic-music sensibility, and several require click tracks and tuners via headphones for their realization.
Dipping into the “EA” Bucket 2.
But this is choral music! Nevertheless, these four works reflect an electronic-music sensibility, and several require click tracks and tuners via headphones for their realization.
Heavy Rotation in 2003: Czernowin, Formenti, Guerrero, Harada, Harrison, Serkin, Pollini
Possibly, a more truthful title: “Best of 2003 Based on an Arbitrary and Random Selection Assembled by Someone with Predictable Tastes.”
Heavy Rotation in 2003: Czernowin, Formenti, Guerrero, Harada, Harrison, Serkin, Pollini
Possibly, a more truthful title: “Best of 2003 Based on an Arbitrary and Random Selection Assembled by Someone with Predictable Tastes.”
Italian Vacation 1.
More than any other 20th-century composer — and like the Gabrielis, the other great Venetian composers centuries before him — Nono wrote music sensitive to the performance space’s acoustics.
Italian Vacation 1.
More than any other 20th-century composer — and like the Gabrielis, the other great Venetian composers centuries before him — Nono wrote music sensitive to the performance space’s acoustics.
Salvatore Sciarrino’s Chamber Music on Kairos
I had intended to begin these Kairos comments with a several-disc report on Helmut Lachenmann.
Salvatore Sciarrino’s Chamber Music on Kairos
I had intended to begin these Kairos comments with a several-disc report on Helmut Lachenmann.
Scattershot Screed from Germany
Listening to voices, those oldest of all instruments, might be described as searching the foreign (or Other) for our own sound, and perhaps recognizing / befriending it for what always seems to be the first time.
Scattershot Screed from Germany
Listening to voices, those oldest of all instruments, might be described as searching the foreign (or Other) for our own sound, and perhaps recognizing / befriending it for what always seems to be the first time.
An Assortment of Moderns, Part II
I was way pleased when the Grammys gave George Crumb’s Star-child the honors for Best Contemporary Composition of 2000.
An Assortment of Moderns, Part II
I was way pleased when the Grammys gave George Crumb’s Star-child the honors for Best Contemporary Composition of 2000.