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3 of 3 people found the following review helpful
5.0 out of 5 stars Ideal music
Exemplifies Hegel's thinking on musical sound as at once passive and active, plastic and dynamic, as material and as an agent, as objective and ideal. One of the most important composers of modern times, this music is a relief from the neo-Baroqueism of Nyman or the quasi-Romanticism of Adams.
Published on 2 Oct. 2012 by BarondeCharlus

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3 of 10 people found the following review helpful
1.0 out of 5 stars what a waste
sorry Philip, but this is the end. I've just spend £14 on a rehash of almost everything you've ever written, which seems to be what you've been doing now for far too long. I begin to suspect that somewhere in your composition classes a tutor told you you should have an individual voice, and you took it much too much to heart. A few bars of admittedly pleasant new music...
Published on 22 Dec. 2011 by Heebee


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3 of 3 people found the following review helpful
5.0 out of 5 stars Ideal music, 2 Oct. 2012
This review is from: Double Concerto for Violin, Cello and Orchestra (Audio CD)
Exemplifies Hegel's thinking on musical sound as at once passive and active, plastic and dynamic, as material and as an agent, as objective and ideal. One of the most important composers of modern times, this music is a relief from the neo-Baroqueism of Nyman or the quasi-Romanticism of Adams.
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5.0 out of 5 stars Entertaining - once, 9 Feb. 2015
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G. Best - See all my reviews
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This review is from: Double Concerto for Violin, Cello and Orchestra (Audio CD)
Although I always enjoy PG, there are other recordings I'll listen to again.
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3 of 10 people found the following review helpful
1.0 out of 5 stars what a waste, 22 Dec. 2011
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Heebee (Highlands, Scotland) - See all my reviews
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This review is from: Double Concerto for Violin, Cello and Orchestra (Audio CD)
sorry Philip, but this is the end. I've just spend £14 on a rehash of almost everything you've ever written, which seems to be what you've been doing now for far too long. I begin to suspect that somewhere in your composition classes a tutor told you you should have an individual voice, and you took it much too much to heart. A few bars of admittedly pleasant new music really is not enough.
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