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To be sure, there are inspired moments, such as No. 17’s dissonant rapid repeated notes and drum-roll imitations, or No. 22’s harmonically sophisticated cascading arpeggios, but don’t expect an epic, six-stringed equivalent to Mussorgsky’s Pictures at an Exhibition. Had the composer bagged his Goya subtext and simply titled this suite “Guitar Moods”, he would have been right on the money. In any event, Zoran Dukic’s sense of color and textural variety, his seamless technique, and his lyrical disposition serve this music beautifully, as does Naxos’ warm, spacious engineering.
Created Date: 1/19/2005 2:51:45 PM.
Castelnuovo Tedesco Cello Concerto
Take the famous Mortuos Plango, Vivos Voco, for example, which was realized at IRCAM in 1980 and shows the composer at the fore. • Latest Music Reviews.
 Recording Details. July 9, 2018 by David Vernier It's easy to hear the opening of Frank Martin's Mass and think--Vaughan Williams, as in his own setting for a cappella double choir, composed in the early 1920s, just a year or two before Martin's wor. June 30, 2018 by Robert Levine This performance replaces the John Eliot Gardiner as my new No. It's easy to understand why this brief work was the composer's most popular during his lifetime: the quick, charming, and eventu. June 17, 2018 by James Imam The output of late British composer Jonathan Harvey is uncommonly broad.
Artistic Quality: 8 Sound Quality: 9 The booklet accompanying this release reproduces each of the Goya etchings that inspired the 24 individual pieces within Mario Castelnuovo-Tedesco’s solo-guitar suite, 24 Caprichos de Goya. To my eyes and ears Goya’s stylized grotesquerie and twisted expressive palette has little in common with Castelnuovo-Tedesco’s gentle, conservative, and masterfully idiomatic guitar writing.