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| RAVES For ERMMedia Releases in the past few months: |
Eclectic meets exotic, August 10, 2008 Amazon.com **** (FOUR STARS)
"Taliban Dances," a 2007 concerto for violin and orchestra by composer Robert Ian Winstin, is featured on a new CD that's sure to pique the interest of
classical music buyers, if only for its attention-grabbing title and cover image of a woman's eyes peering out from behind a face veil. The music itself,
however, is also worthy of attention. It's an ambitious attempt to marry Eastern and Western musical forms in a work that, ccording to the liner notes, is
meant to address the tragedy and futility of war. The political context isn't specified, although the title invites speculation. Winstin's integration of
Arabic scales and rhythms and Western harmonics can be read as a kind of musical détente, and/or a plea for greater understanding between cultures.
The piece is most effective in its slower, more plaintive sections, in which the Eastern musical aesthetic predominates. There's real beauty and
sadness in the "Call to Prayer" and "Lullaby" movements that vividly evoke the textures of the Middle East. The accompanying pieces on this disc
further attest to Winstin's eclecticism. "Three Pieces for Piano" is a spirited and virtuosic exploration of the sonata form. The three movements contrast
brash, angular rhythms with introspective lyricism to telling effect. The playful "Piano Attacks" manifests even more aggressive experimentation within
its extremely short (1:35!) running time. "Normandy, June 6, 1944" is a somber musical salute written for the 60th anniversary of the D-Day invasion that
features a surprisingly effective use of the military trumpet theme "Taps" set against a cresting orchestral accompaniment. Bringing the disc to a close
is "Le voyage dans la lune," a short opening title Winstin composed for the re-release of Georges Melies' silent film classic. This terse but highly
evocative piece makes good use of martial drum figures and somewhat ominous harmonic patterns. All in all, this is an intriguing new release that
bears repeated listening.
"Taliban Dances," a 2007 concerto for violin and orchestra by composer Robert Ian Winstin, is featured on a new CD that's sure to pique the interest of
classical music buyers, if only for its attention-grabbing title and cover image of a woman's eyes peering out from behind a face veil. The music itself,
however, is also worthy of attention. It's an ambitious attempt to marry Eastern and Western musical forms in a work that, ccording to the liner notes, is
meant to address the tragedy and futility of war. The political context isn't specified, although the title invites speculation. Winstin's integration of
Arabic scales and rhythms and Western harmonics can be read as a kind of musical détente, and/or a plea for greater understanding between cultures.
The piece is most effective in its slower, more plaintive sections, in which the Eastern musical aesthetic predominates. There's real beauty and
sadness in the "Call to Prayer" and "Lullaby" movements that vividly evoke the textures of the Middle East. The accompanying pieces on this disc
further attest to Winstin's eclecticism. "Three Pieces for Piano" is a spirited and virtuosic exploration of the sonata form. The three movements contrast
brash, angular rhythms with introspective lyricism to telling effect. The playful "Piano Attacks" manifests even more aggressive experimentation within
its extremely short (1:35!) running time. "Normandy, June 6, 1944" is a somber musical salute written for the 60th anniversary of the D-Day invasion that
features a surprisingly effective use of the military trumpet theme "Taps" set against a cresting orchestral accompaniment. Bringing the disc to a close
is "Le voyage dans la lune," a short opening title Winstin composed for the re-release of Georges Melies' silent film classic. This terse but highly
evocative piece makes good use of martial drum figures and somewhat ominous harmonic patterns. All in all, this is an intriguing new release that
bears repeated listening.
Excellent primer for Winstin's talents, September 5, 2008
This set is an excellent primer to pianist/ composer Winstin. The five selections showcase the breadth of his styles and scope of his passions.
Winstin combines his virtuosity with puckish humor often. The title set, "Taliban Dances", is true to its oxymoronic title, underlining war and conflict with
absurdism and synthesis. Galyna Hornostai bookends the suite playing violin lullabies invoking peace and prayer with exquisite dexterity and nimble
spirit. Between, eastern and western idioms spring forward, clash, and merge. An upbeat and moving melodicism drives the pieces. The third movement
is breath of fun, wedding eastern scales to the sexy sway of bossa nova, while descending flutes and popping ballons mock the futility of bombs.
"Three Piano Pieces" are early works highlighting his solo prowess. The first piece is an askew waltz that grows contemplative; the second a lovely
melody of twining scales played impossibly between switching hands; and the third, in the Prokofiev vein, at times sounds like cuban piano abstracted
into cubism.
"Normandy: June 6, 1944" is a complex condensation of the events of that pivotal shore landing, in sound waves, led by a "Taps"-style horn while the
music behind it begins remembering itself by descending backward through the arrangement. "Piano Attacks" are literal blasts of piano techniques
stocatto-ed in 90 seconds!'
The surprise dessert is "La Voyage Dans La Lune", for the 100th anniversary of the first Science Fiction film (A Trip To The Moon, 1902). Its crash of
sprinting drums and off-kilter horns is enthralling and powerful, while moments of beauty snake throughout. Fantastic!
This set is an excellent primer to pianist/ composer Winstin. The five selections showcase the breadth of his styles and scope of his passions.
Winstin combines his virtuosity with puckish humor often. The title set, "Taliban Dances", is true to its oxymoronic title, underlining war and conflict with
absurdism and synthesis. Galyna Hornostai bookends the suite playing violin lullabies invoking peace and prayer with exquisite dexterity and nimble
spirit. Between, eastern and western idioms spring forward, clash, and merge. An upbeat and moving melodicism drives the pieces. The third movement
is breath of fun, wedding eastern scales to the sexy sway of bossa nova, while descending flutes and popping ballons mock the futility of bombs.
"Three Piano Pieces" are early works highlighting his solo prowess. The first piece is an askew waltz that grows contemplative; the second a lovely
melody of twining scales played impossibly between switching hands; and the third, in the Prokofiev vein, at times sounds like cuban piano abstracted
into cubism.
"Normandy: June 6, 1944" is a complex condensation of the events of that pivotal shore landing, in sound waves, led by a "Taps"-style horn while the
music behind it begins remembering itself by descending backward through the arrangement. "Piano Attacks" are literal blasts of piano techniques
stocatto-ed in 90 seconds!'
The surprise dessert is "La Voyage Dans La Lune", for the 100th anniversary of the first Science Fiction film (A Trip To The Moon, 1902). Its crash of
sprinting drums and off-kilter horns is enthralling and powerful, while moments of beauty snake throughout. Fantastic!
Exceptional!, November 7, 2007
By Dominick "Nick" (Los Angeles)
The Masterworks of the New Era - Volume Eleven is a superb CD set which collects works by living composers, and with this 11th compilation the
series continues to get better and better. The recording begins with a wonderful fanfare and navigates its way through exciting new pieces recorded
by world-class orchestras. Particularly, the works by Middleton (disc 1) and Anderson (disc 2) are quite moving, and McConville's "Tableaux of
Katrina" (disc 1) is a terrifying yet beautiful homage to the tragedy that struck the gulf coast in 2005. For shoppers who are looking for new music from
some of the best living composers out there right now, be sure to give this a listen!
By Dominick "Nick" (Los Angeles)
The Masterworks of the New Era - Volume Eleven is a superb CD set which collects works by living composers, and with this 11th compilation the
series continues to get better and better. The recording begins with a wonderful fanfare and navigates its way through exciting new pieces recorded
by world-class orchestras. Particularly, the works by Middleton (disc 1) and Anderson (disc 2) are quite moving, and McConville's "Tableaux of
Katrina" (disc 1) is a terrifying yet beautiful homage to the tragedy that struck the gulf coast in 2005. For shoppers who are looking for new music from
some of the best living composers out there right now, be sure to give this a listen!
Outstanding, October 23, 2007
By N. J. Hart (London)
The ERM "Masterworks" series reaches its apex with this marvellous box-set compilation of contemporary composer's
works. On Disc 1 (Track 2) Jonathan Little's elegant 15-minute tone poem, "Terpsichore - the Whirler, or Muse of
Dance", is especially outstanding: a dynamic and sparkling major new work for virtuoso orchestra. All eleven volumes of
the ERM "Masterworks" series are worthy of purchase but none more so than this exquisite compilation box-set. Truly
outstanding.
By N. J. Hart (London)
The ERM "Masterworks" series reaches its apex with this marvellous box-set compilation of contemporary composer's
works. On Disc 1 (Track 2) Jonathan Little's elegant 15-minute tone poem, "Terpsichore - the Whirler, or Muse of
Dance", is especially outstanding: a dynamic and sparkling major new work for virtuoso orchestra. All eleven volumes of
the ERM "Masterworks" series are worthy of purchase but none more so than this exquisite compilation box-set. Truly
outstanding.
A GREAT COLLECTION OF CONTEMPORARY MUSIC, January 1, 2008
By Matthew Budden (Vancouver, BC)
This is the first time I've come across the Masterworks of the New Era series. It's hard to find fault with such a remarkably inventive and diverse
collection of composers and the many inspired performances herein. Certainly something for everyone. For me, one of the immediate stand-outs is the
more "traditional avant-garde" fare of Tom Ingoldsby's "They Once Were..." (bringing to mind Messiaen and Berg). I have a cd of Ingoldsby's chamber
works, and it is wonderful finally to hear his work thundering along with full orchestra, especially that marvellous brass section! An intense and haunting
piece. Many thanks to ERM for bringing us contemporary classics by "underheard" composers at a bargain price.
By Matthew Budden (Vancouver, BC)
This is the first time I've come across the Masterworks of the New Era series. It's hard to find fault with such a remarkably inventive and diverse
collection of composers and the many inspired performances herein. Certainly something for everyone. For me, one of the immediate stand-outs is the
more "traditional avant-garde" fare of Tom Ingoldsby's "They Once Were..." (bringing to mind Messiaen and Berg). I have a cd of Ingoldsby's chamber
works, and it is wonderful finally to hear his work thundering along with full orchestra, especially that marvellous brass section! An intense and haunting
piece. Many thanks to ERM for bringing us contemporary classics by "underheard" composers at a bargain price.
Masterworks of the new era Vol. 11, December 5, 2007
By R. Leytham
I originally bought this CD because I am a fan of the music of David Arkenstone. Owning many of his newage cd's I was anxious to hear what he was
going to create and he didn't dissappoint. His composition on the 3rd disc "Surrounded by Beauty" is just that; beautiful. My one complaint is that I
am wanting more after it only being 3min long. Now the best reason for owning this collection is the 2nd disc. I was not familiar with any of the
composers but this disc is stunning! It starts with an intense piece by Robert Hagenbuch titled "Homage to Barber". At 12 minutes in length it starts
very low and haunting and gradually crescendos throughout. With the additions of different meters and themes , there is such tension created that by
the end the listener is glad to hear the first notes of Andrew Anderson's beautiful "Small Town" just so they can breath again. Being a percussionist the
composition created by Robert Ceely titled "Three Satires" is wonderful. The 2nd movement of the piece "Ritmit" has such interplay between the
orchestra and the percussion that I hope Evelyn Glennie hears this piece and commissions Mr. Ceely to compose a new work for her.
While I look forward to a new disc by D. Arkenstone, I can also now look forward to finding and hearing new music by Hagenbuch, Anderson, and
Ceely. I loved it! BRAVO!!!
By R. Leytham
I originally bought this CD because I am a fan of the music of David Arkenstone. Owning many of his newage cd's I was anxious to hear what he was
going to create and he didn't dissappoint. His composition on the 3rd disc "Surrounded by Beauty" is just that; beautiful. My one complaint is that I
am wanting more after it only being 3min long. Now the best reason for owning this collection is the 2nd disc. I was not familiar with any of the
composers but this disc is stunning! It starts with an intense piece by Robert Hagenbuch titled "Homage to Barber". At 12 minutes in length it starts
very low and haunting and gradually crescendos throughout. With the additions of different meters and themes , there is such tension created that by
the end the listener is glad to hear the first notes of Andrew Anderson's beautiful "Small Town" just so they can breath again. Being a percussionist the
composition created by Robert Ceely titled "Three Satires" is wonderful. The 2nd movement of the piece "Ritmit" has such interplay between the
orchestra and the percussion that I hope Evelyn Glennie hears this piece and commissions Mr. Ceely to compose a new work for her.
While I look forward to a new disc by D. Arkenstone, I can also now look forward to finding and hearing new music by Hagenbuch, Anderson, and
Ceely. I loved it! BRAVO!!!
SOMETHING HERE FOR EVERYBODY!, September 25, 2005
By Northern Agrarian (Pittsburgh, PA United States)
This 2-disc set is the latest installment in a highly acclaimed CD series of new works by contemporary composers.
There are 13 pieces here, one from each featured composer, and while there is such variety that probably not all of
the works will be to the taste of each listener, it is highly probable that there will be at least a few things on here that
any given listener will like. Some pieces left me completely cold, and there are some I consider so-so, but to me there
were four real standouts. Undoubtedly you'll have your own faves!
The first one for me is "Morning Star Rising," by Pittsburgh-based composer Steve Kornicki. This 15-minute tone poem
for orchestra incorporates echoes of Hovhaness and Holst, along with some slight minimalist elements, to create a very
captivating sound. The piece strikes me as quite unique and powerful--I'd love to hear it live. Let's hope the Pittsburgh
Symphony takes notice of one of her hometown composers!
"Meditation for String Orchestra" by Eleanor Sandresky is an elegiac piece that calls to mind Part or Vasks, without
sounding like either one of them, exactly. Sandresky has played with Philip Glass, but I wouldn't really describe the
work as minimalist. It is quite engrossing though.
"Sanctus" by Chris Bowman is a lovely neo-romantic work (a motet, maybe?) for orchestra and chorus, reminiscent of
Brahms a bit, but also of contemporary composer Morten Lauridsen. It has a certain "sweetness" to it, but it doesn't
descend to the saccharine feel that one sometimes finds in, say, some of John Rutter's choral music. Very nicely done,
in a style you don't hear much of these days, unfortunately.
Lastly, "The Wild Swans at Coole" by Paul Johnson is a 22-minute tone poem in six movements, based on a Yeats
poem. If you are a fan of the string music of Vaughan Williams, Edward Elgar or Gerald Finzi you will like this piece
very much. It's one of the better things I've heard in that vein in a long time, without being slavishly imitative of its
influences (which the composer readily admits).
Performance by the Kiev Philharmonic is very good, although there seem to be some slight intonation problems here
and there. Recording is very high quality. Again, the program is a mixed bag, but that's hard to fault, given the nature
of this type of release. Buy it--no doubt there will be at least a few things on here you'll enjoy!
By Northern Agrarian (Pittsburgh, PA United States)
This 2-disc set is the latest installment in a highly acclaimed CD series of new works by contemporary composers.
There are 13 pieces here, one from each featured composer, and while there is such variety that probably not all of
the works will be to the taste of each listener, it is highly probable that there will be at least a few things on here that
any given listener will like. Some pieces left me completely cold, and there are some I consider so-so, but to me there
were four real standouts. Undoubtedly you'll have your own faves!
The first one for me is "Morning Star Rising," by Pittsburgh-based composer Steve Kornicki. This 15-minute tone poem
for orchestra incorporates echoes of Hovhaness and Holst, along with some slight minimalist elements, to create a very
captivating sound. The piece strikes me as quite unique and powerful--I'd love to hear it live. Let's hope the Pittsburgh
Symphony takes notice of one of her hometown composers!
"Meditation for String Orchestra" by Eleanor Sandresky is an elegiac piece that calls to mind Part or Vasks, without
sounding like either one of them, exactly. Sandresky has played with Philip Glass, but I wouldn't really describe the
work as minimalist. It is quite engrossing though.
"Sanctus" by Chris Bowman is a lovely neo-romantic work (a motet, maybe?) for orchestra and chorus, reminiscent of
Brahms a bit, but also of contemporary composer Morten Lauridsen. It has a certain "sweetness" to it, but it doesn't
descend to the saccharine feel that one sometimes finds in, say, some of John Rutter's choral music. Very nicely done,
in a style you don't hear much of these days, unfortunately.
Lastly, "The Wild Swans at Coole" by Paul Johnson is a 22-minute tone poem in six movements, based on a Yeats
poem. If you are a fan of the string music of Vaughan Williams, Edward Elgar or Gerald Finzi you will like this piece
very much. It's one of the better things I've heard in that vein in a long time, without being slavishly imitative of its
influences (which the composer readily admits).
Performance by the Kiev Philharmonic is very good, although there seem to be some slight intonation problems here
and there. Recording is very high quality. Again, the program is a mixed bag, but that's hard to fault, given the nature
of this type of release. Buy it--no doubt there will be at least a few things on here you'll enjoy!
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