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Eric Nathan: Missing Words

Boston Modern Orchestra Project

Classical - Released January 21, 2022 | New Focus Recordings

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Quaking Aspen

Stephanie Lamprea

Classical - Released January 7, 2022 | New Focus Recordings

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Adam Roberts: Bell Threads

andPlay

Classical - Released November 19, 2021 | New Focus Recordings

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Confined. Speak.

Ensemble Dal Niente

Classical - Released November 5, 2021 | New Focus Recordings

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Kermès

Julia Den Boer

Classical - Released October 22, 2021 | New Focus Recordings

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As with her earlier album, Lineage (2020), pianist Julia Den Boer here offers four works, diverse in construction but linked by a single abstract quality; this time out, all the composers are female. The title Kermès requires some explanation in the booklet; kermès or kermes was (and is) an insect whose body, when dried and ground in large quantities, produced red dye; later it was replaced by the cochineal bug. The abstract quality that for Den Boer links these works is that they seem to "extract" deeper pianistic colors from basic materials stated at the outset of a work or of its individual movements. The interest lies in the differernt routes the four composers involved take toward this goal. Giulia Lorusso's Déserts has a program of its own; its five movements are inspired by five different deserts around the world, and it has a minimalist quality despite some virtuoso passages. Linda Catlin Smith's The Underfolding is a study in overlapping planes of pitch and rhythm. Anna Thorvaldsdottir's Reminiscence, in seven short linked movements, uses strumming and other extended techniques to create the ghostly quality suggested by the title. And Rebecca Saunders' Crimson is a work of rich contrasts exploring the etymological link between its title and that of the album, originating in the Arabic language. Den Boer has achieved a novel program here, and one can easily imagine her album being used in composition courses. © TiVo
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Plays Well With Others

Loadbang

Classical - Released September 10, 2021 | New Focus Recordings

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Iron Orchid

Ning Yu

Classical - Released September 3, 2021 | New Focus Recordings

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Unsnared Drum

Michael Compitello

Classical - Released August 20, 2021 | New Focus Recordings

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The Space in Which To See

Borderlands Ensemble

Chamber Music - Released August 6, 2021 | New Focus Recordings

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Sky’s Acetylene

New York Philharmonic

Classical - Released August 6, 2021 | New Focus Recordings

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Scherzinger Etudes

Bobby Mitchell

Classical - Released July 23, 2021 | New Focus Recordings

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Mangetsu

Duo della Luna

Classical - Released July 9, 2021 | New Focus Recordings

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Blow

The City of Tomorrow

Classical - Released June 25, 2021 | New Focus Recordings

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Real Loud

Real Loud

Classical - Released June 18, 2021 | New Focus Recordings

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Ofer Pelz: Trinité (Live)

Amit Dolberg

Classical - Released June 11, 2021 | New Focus Recordings

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Aaron Jay Myers: Clever Machines

Philipp Staudlin

Classical - Released June 4, 2021 | New Focus Recordings

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Concrete & Void (Live)

Wavefield Ensemble

Classical - Released May 28, 2021 | New Focus Recordings

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American Discoveries

Lansdowne Symphony Orchestra

Classical - Released May 21, 2021 | New Focus Recordings

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Robert Gross: Chronicles

Jeanette Louise Yaryan

Classical - Released May 14, 2021 | New Focus Recordings

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Scott Wollschleger: Dark Days

Karl Larson

Classical - Released April 23, 2021 | New Focus Recordings

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The music of composer Scott Wollschleger has a distinctive profile that emerges clearly in solo piano music, making this a good choice for those interested in his music. Wollschleger combines several quite diverse influences from the past into a new and coherent whole. The composer is a synaesthete, and the first thing that strikes the listener here is the variety of colors he calls forth from the keyboard, beautifully brought out by his champion pianist, Karl Larson. Wollschleger's treatment of the piano unmistakably brings to mind a Claude Debussy brought into the modern era. There's also a slow-moving, repetitive quality suggesting the influence of the minimalists and perhaps of Morton Feldman. In terms of rhythm, however, Wollschleger is closer to high modernism, using devices such as proportional rhythm and generally an emphasis on the duration of notes rather than on pulse, which is there but elusive. In his transparent textures, these rhythmic devices come through clearly and interact in a wholly original way with the coloristic aspect of the composer's music. Larson worked closely with Wollschleger over the several years in which these pieces took shape, and his readings may be regarded as definitive. A novel contemporary release rooted in long traditions and accessible to all. © TiVo