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Track Listings
| 1. Harmonium |
| 2. Harmonium |
On this CD:
-
Harmonium
Composed by John Adams
Performed by San Francisco Symphony Chorus, San Francisco Symphony Orchestra
Conducted by Edo de Waart
Product Description
Amazon.co.uk Review
Back in 1981, Harmonium John Adams out as a major new voice in American music, and it's still high-octane listening today. Minimalism with an unashamedly romantic soul, these reflections on mortality have a truly existential dimension! The glowing choral writing of "Negative Love" captures the full-force of John Donne's emotive musings. Adams respects the formality of Emily Dickinson's "Because I Could Not Stop for Death", while the orchestra, with its subtle backdrop of gongs, vividly evokes the death-haunted scene. The setting of Dickinson's "Wild Nights" opens with a crescendo of breathtaking velocity, and the adrenaline keeps flowing until the coda's mood of fulfilled calm; the sense of space here would not sound out of place in Sibelius. De Waart's performance, made soon after the premi&agrav;re, captures the music's immediacy on the wing (a recent account by Robert Shaw and his Atlanta forces on Telarc sadly doesn't come close), reinforced by ECM's open sound-balance. At barely 32 minutes, this disc is short measure, but it's an essential purchase even so. --Richard Whitehouse
Back in 1981, Harmonium John Adams out as a major new voice in American music, and it's still high-octane listening today. Minimalism with an unashamedly romantic soul, these reflections on mortality have a truly existential dimension! The glowing choral writing of "Negative Love" captures the full-force of John Donne's emotive musings. Adams respects the formality of Emily Dickinson's "Because I Could Not Stop for Death", while the orchestra, with its subtle backdrop of gongs, vividly evokes the death-haunted scene. The setting of Dickinson's "Wild Nights" opens with a crescendo of breathtaking velocity, and the adrenaline keeps flowing until the coda's mood of fulfilled calm; the sense of space here would not sound out of place in Sibelius. De Waart's performance, made soon after the premi&agrav;re, captures the music's immediacy on the wing (a recent account by Robert Shaw and his Atlanta forces on Telarc sadly doesn't come close), reinforced by ECM's open sound-balance. At barely 32 minutes, this disc is short measure, but it's an essential purchase even so. --Richard Whitehouse