For his Double Violin Concerto (1997) Mark O'Connor temporarily set aside his popular "Appalachian" mode (adequately represented in the last three pieces here), and turned his attention to the blues and jazz -- or at least the aspects of these genres he had absorbed and accepted as fair game for "classicizing." Considering the Texas swing and ...
Roughly passionate and intensely dedicated, Nadja Salerno-Sonnenberg's disc of recordings of the violin concertos of Pyotr Tchaikovsky and Clarice Assad accompanied by Marin Alsop and the Colorado Symphony Orchestra on the violinist's own NSS label is ultimately persuasive if not always altogether convincing. Salerno-Sonnenberg is as volatile and ...
The three works on this album are billed as "genre-shattering trombone concerti for the 21st century," but they're actually slightly oversold as such. Only one, the Concerto for trombone and orchestra of Jeff Tyzik (2003), is actually a product of this century, and the program as a whole is actually on the conservative side, no more "for the ...
Among contemporary composers of orchestral music, Christopher Rouse is a prominent figure, noted for his extremely virtuosic scores as well as for his dark subject matter. Such fantastic -- some might say nightmarish -- pieces as the ultra-violent Gorgon (1984) and the enigmatic Iscariot (1989) are true to form in their evocation of mythology or ...
Among contemporary composers of orchestral music, Christopher Rouse is a prominent figure, noted for his extremely virtuosic scores as well as for his dark subject matter. Such fantastic -- some might say nightmarish -- pieces as the ultra-violent Gorgon (1984) and the enigmatic Iscariot (1989) are true to form in their evocation of mythology or ...
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