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Product Description
Amazon.co.uk Review
At a time when Schoenberg and Stravinsky were thought of as opposite poles, Roberto Gerhard was combining the density of the one with the dynamism of the other in a wholly personal synthesis. You can hear this in the Piano Concerto's mood swings from the dark and brooding to, in the finale, a Spanish take-off that Chabrier would have thought off the wall. Gerhard's 1960s music is in-your-face modernism that holds you in its grasp, embracing sound with an enthusiasm that remains inspirational today. Listen to the tape part of the Third Symphony--a cut-and-paste job that trounces most of the computer-music generation in its imagination and feeling for what's possible. Epithalamion features material originally intended for, of all things, Lindsay Anderson's film This Sporting Life. Not that its impact is any less than coherent; the percussion writing alone has a fantasy that will keep you entranced. Well prepared performances, superbly recorded. This is still music of the future. --Richard Whitehouse
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Most Helpful Customer Reviews
0 of 1 people found the following review helpful:
5.0 out of 5 stars
Roberto Gerhard; Little-Known Catalan master,
By
This review is from: Gerhard: Symphony No.3 (Audio CD)
I find it surprising that Gerhard is not more popular in his native Catalonia; this may be partly because of his non-Catalan parents, partly because his exile was lower-profile than e g that of his compatriot Pau (a.k.a. Pablo) Casals, and also partly because the kind of music he composed entered fields of difficult access. All the compositions on this CD are of interest if you are receptive to his kind of music. I also recommend his 'La Peste'.
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Most Helpful Customer Reviews on Amazon.com (beta) Amazon.com:
4.0 out of 5 stars (1 customer review) 8 of 8 people found the following review helpful:
4.0 out of 5 stars
The good and the bad,
By Brandon H. Borrman - Published on Amazon.com
This review is from: Gerhard: Symphony No.3 (Audio CD)
The third is a grounbreaking work. Though Verese beat Gerhard in the race to bring a live orchestra together with an electronic tape, Gerhard was the first to full integrate the two. Varese placed orchestral blocks next to taped moments, but Gerhard uses the tape as another instrument, and to stunning effect. What detracts from this particular disc is the recording of the piano concerto. Somehow, all the life has been dispatched. Where once there was passion there is now only a dull wash of sound.
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