This is an excellent collection of Aaron Copland’s early orchestral works, written when the composer was in his twenties and mid-thirties. These pieces have not achieved the notoriety of Mr. Copland’s later “populist” compositions and contain more modernist devices. Some of these feature jazz elements (such as the Piano Concerto, Music for the Theater and the Dance Symphony, which was drawn from materials composed for the “Grogh” ballet). Despite the complexity of these selections, the music is both exhilarating and interesting, albeit challenging. Repeat listenings are required if one wishes to fully appreciate these compositions…
Brett Dean (born 1961 in Brisbane, Australia) is beginning to be a much talked about name in the music world. Long established as a fine violist (he was a violist with the Berlin Philharmonic for fifteen years) both as an ensemble member and soloist, Dean is spending more time composing these days than playing.
The third album by Milwaukee jazz/pop chanteuse Roxi Copland delivers an unlikely mélange of vulnerability, self-refection, street savvy, humor and sultriness that works better than the combination might at first indicate. Her sultriness tends to inform most every other effect she’s going for, considering the breathy alto fronting her own piano work and the small combo behind her.
The late Hans Keller regarded Hindemith as one of the few composers able to produce what he called 'intrinsic' quartets, that's to say quartets addressed in the first place to the player (the listener being, as Keller put it, "a more or less welcome eavesdropper"). This collection includes the recently re-discovered early work in C major. The performances are technically and musically excellent. As a previous reviewer has noted, there is much to be said for listening to them in the order in which they were composed, so as to follow the development of Hindemith's style over a period of three decades.