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1 of 2 people found the following review helpful
Format:Audio CD
this 2007 reissue seems very enticing at super budget price, with Simon Rattle conducting also, + for music / culture obsessives like myself who like to try to keep up the latest movers + shakers, but "Asyla" originally released + nominated no less for the mercury music prize in 1999 by UK composer Thomas Ades is not a good cd to entice the more culturally curious to contemporary classical music i feel. the stand out track is "Asyla" - which has real momentum, drama + writing that echoes (at least to me) the primal energy of the rite of spring by Stravinsky . its a dynamic angular yet arresting piece of music that grabs the listener and says "listen to me - im a cutting edge composer" and WORKS.
the remaining tracks including the "Concerto Conciso" and "Chamber Symphony" although impressive enough, still sound like a young composer writing in the accepted idiomatic post-modern style of polystylistic appropriation (thats near plagiarism to you + me) of established 20th Century composers such as Berio,Schnittke,Stravinsky + later post minamalist John Adams. Ades also adopts this style with these works -where the writings comes across as a homage to Berg, Stravinsky and whatever takes his fancy in order to scream - "look mum i've learnt to how write complicated unmelodic classical music !" the difference between the acknowledged composers mentioned above - is that their own distinct voices emerge still in their polystylistic compositions - Ades here does NOT. their simply isnt enough breadth or imagination to the music on display here.
try Ades "Living Toys" cd instead for a better more varied + dare i say it - enjoyable listen from this precocious young British comnposer.
the remaining tracks including the "Concerto Conciso" and "Chamber Symphony" although impressive enough, still sound like a young composer writing in the accepted idiomatic post-modern style of polystylistic appropriation (thats near plagiarism to you + me) of established 20th Century composers such as Berio,Schnittke,Stravinsky + later post minamalist John Adams. Ades also adopts this style with these works -where the writings comes across as a homage to Berg, Stravinsky and whatever takes his fancy in order to scream - "look mum i've learnt to how write complicated unmelodic classical music !" the difference between the acknowledged composers mentioned above - is that their own distinct voices emerge still in their polystylistic compositions - Ades here does NOT. their simply isnt enough breadth or imagination to the music on display here.
try Ades "Living Toys" cd instead for a better more varied + dare i say it - enjoyable listen from this precocious young British comnposer.
Most Helpful Customer Reviews on Amazon.com (beta)
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2 reviews
2 of 2 people found the following review helpful
welcome reissue
28 Mar 2010
Format:Audio CD
Not that the original issue, Ades: Asyla, These Premises Are Alarmed, etc. / Rattle, et al, has become difficult to find or is unduly expensive on the secondary market, but still it is good that this disc has been reissued at budget price. It was the fourth in a series of portraits devoted by EMI to young Thomas Adès (born in 1971, the original disc was released in 1999), the hot shooting star of the contemporary music scene. Previous installments had been Ades: Catch/Darknesse Visible/Still Sorrowing/Under Hamelin Hill/Five Eliot Landscapes/Traced OVerhead/Life Story (1997), Thomas Adès: Living Toys (1998) and his ground-breaking opera "Powder Her Face" (Adès - Powder Her Face / Gomez, V. Anderson, N. Morris, Bryson, Almeida Ensemble, Adès, 1998). After this one came Thomas Adès: America: A Prophecy in 2004, the Piano Quintet (Adès: Piano Quintet; Schubert: "Trout Quintet" in 2005, and Adès second opera "The Tempest", Thomas Adès: The Tempest, in 2009. The series has just been completed by Tevot, Violin Concerto, Couperin Dances (also under Tevot Violin Concerto: Couperin Dances), thus offering the composer's complete output, save his very latest compositions (see my review of Tevot for the details). I can think of no other case in the in the history of recorded music where a label has given such staunch support to a composer from so early on in his compositional career (Columbia championed Stravinsky only in his mid-fifties, and Decca didn't pick up Britten as early as this either).
For this disc, see my review of the original disc for details. In the early piece (the 1990 Chamber Symphony op 2) as well as in some of the late ones like Concerto Conciso op. 18 from 1998 (if "late" is an appropriate word for a composer in his late twenties), Adès' knack for ear-catching instrumental events is much in evidence, and in some of the other ones ("...but all shall be well" op. 10 from 1993) he appears as the true heir to Britten.
When the CD came out, Asyla, written for and premiered by Rattle and the City of Birmingham SO in 1997, was Adès' largest composition for big orchestra. It is a highly atmospheric composition, in which Adès again displays his great sense of orchestral color. But in a way, he also tames down a bit, and doesn't eschew the big Late-Romantic gestures, as the quasi-hollywood theme that whiffs by at 3:10 in the second movement.
I think "Living Toys" - the second installment in the series - is a better introduction to Adès, with music that sounds more fresh and daring, but this one is a fine survey as well.
For this disc, see my review of the original disc for details. In the early piece (the 1990 Chamber Symphony op 2) as well as in some of the late ones like Concerto Conciso op. 18 from 1998 (if "late" is an appropriate word for a composer in his late twenties), Adès' knack for ear-catching instrumental events is much in evidence, and in some of the other ones ("...but all shall be well" op. 10 from 1993) he appears as the true heir to Britten.
When the CD came out, Asyla, written for and premiered by Rattle and the City of Birmingham SO in 1997, was Adès' largest composition for big orchestra. It is a highly atmospheric composition, in which Adès again displays his great sense of orchestral color. But in a way, he also tames down a bit, and doesn't eschew the big Late-Romantic gestures, as the quasi-hollywood theme that whiffs by at 3:10 in the second movement.
I think "Living Toys" - the second installment in the series - is a better introduction to Adès, with music that sounds more fresh and daring, but this one is a fine survey as well.
1 of 3 people found the following review helpful
Purcell, Britten, and now Ades
12 Jan 2011
Format:Audio CD|Amazon Verified Purchase
I recently met Thomas Ades while visiting Melbourne. I found his pianistic ability and imagination staggering. I own all of his published recordings, and listen to him whenever my creativity needs a jolt. Thank you, Amazon, for bringing all of this into my living room!
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