Precision in the notation pays off. What is produced is a whole menagerie of small sounds, often animated by decisively pulsed rhythms.
All these things, so human, are manifested by something manifestly artificial: a sound world aglow with electronics. And that dichotomy, of human and artificial, is at once and constantly challenged.
Sofia Gubaidulina shares a special affinity with Bach: both artists’ music are influenced by their faith, and they share a unique blend of emotional transcendence and compositional rigor.
The difference is inevitable; the affiliation may be felt in a sensitivity to the particular sound and technique of the instrument, in a strength of line, and in a shadow of dance.
Scholars believe that Homer’s epic was a song sung to a rapt audience before it was ever written down, so it is fitting that we return his story to music with a program of French baroque retellings.
All four of this evening’s pieces, whether from the first half of the eighteenth century or of the twenty-first, race with driving rhythm and self-similarity.
This concert takes place under the sign of what we know to be three infinitesimal specks in a boundless universe: earth and moon and sun.
One of Europe’s most extraordinary ruling dynasties, the Hapsburgs ruled much of Europe from the 11th century until 1918, gathering around themselves the leading composers of the day.
In a creative life that goes back three decades, Stefano Gervasoni has defined a musical world impinging on others while remaining manifestly unique.
The typical Mazzoli piece is calm and edgy, slow and hyper-energetic, solemn and intense, hypnotic and wild.
Works by Byrd and Josquin might be divided by religion, but each represents the pinnacle of creative achievement within two very different schools of composition.
Any Makan composition will show these features of regularity and resonance, as pulse and as a bloom of partials on the sound, whether this bloom comes directly from an instrument or reverberations.
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