
I think ESSAY is running out of titles for this series, but never mind. This latest installment of music whose selection was inspired by the
Interestingly, this program’s most engaging and idiomatically convincing work is the one not initially conceived for soloist and orchestra–the Rondo in B minor D. 895,
In Brutal Reality, Richard Adams attempts to communicate the sense of being overwhelmed by the enormous compositional and professional demands being placed on him at
Pierre Monteux is commonly associated with Ravel and Stravinsky, and he won his initial acclaim by conducting the premieres of some of their seminal compositions.
Ignaz Pleyel was one of Franz Joseph Haydn’s most accomplished and beloved students. After accepting Pleyel when he was only 15 years old, Haydn’s lifelong
Listening to this collection of piano and chamber works by Jan Radzynski (b. 1950) I sense a composer with a wide range of influences and
Not entirely without reason, Georg Philipp Telemann’s reputation today as a “light” composer often has unjustly discouraged would-be listeners from exploring his more challenging, if
These sonatas, for harp with violin and (in three cases) ad libitum cello accompaniment, clearly were intended for the home, just like Haydn’s piano trios.
This disc sounds terrific. Jasper Wood plays with a firm, rich tone and he’s excellently balanced against David Riley’s sparkling piano accompaniments. Most of the
Each of these works illustrates a different aspect of Robert Erickson’s (1917-97) determinedly avant-garde but ever-shifting aesthetic. White Lady (1975) for wind ensemble consists of