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CURRENT ISSUE

LEGATO NOTES
A Fertile Conference Blooms in the Arizona Desert

Book Review

Lullaby to Old Broadway
by Barry Drogin

Supplement to the Spring/Summer 2005 Issue:
The Schoenberg conference (unedited, unabridged)


Live Events

Peter Burwasser's
Philadelphia Report


Web Extras

Joseph Pehrson interviews Electra Slonimsky Yourke, the daughter of
Nicolas Slonimsky
with Sound Files

Alan Hovhaness
The Composer in Conversation with Bruce Duffie

Boston Live Events
by David Cleary

Sleeping, Waking, Dreaming: Dinosaur Annex Music Ensemble

Flutings and Floatings: A Concert of Music for Flute Composed by MIT Composers

Boston Symphony Orchestra

New England Conservatory Wind Ensemble

The Composers' Series

Contexts/Memories II: Celebrating Milton Babbitt's 90th Birthday

[nec] shivaree

Boston Musica Viva Celtics

Can You Hear Me Now? The Music of Howard Frazin

I Hear America: Gunther Schuller at 80

The Boston Conservatory 2005 New Music Festival

Boston Symphony Orchestra

Alea III: Soloists of Alea III


CD Reviews
by David Cleary

CD Reviews
by Dr. Helmut Christoferus Calabrese

Fresh American Sounds for Christmas

High Coos, Low Shrieks


Opinion

The Repulsive CD (an alternate view)
by Joseph Pehrson

Short Review of Concert

Blodgett Chamber Music Series at Harvard: the Ying Quartet
Friday, April 15, 2005, 8:00 PM
John Knowles Paine Concert Hall, Harvard University, Cambridge, MA

by David Cleary

The Ying Quartet (Timothy and Janet Ying on violin, Phillip Ying on viola, and David Ying on cello) have for several years now been requesting music from noteworthy composers as part of their "Life Music" commissioning project.

The latest of these, Icefield Sonnets by Pierre Jalbert , is a gripping, motivically economic work inspired by the poetry of Anthony Hawley. Its opening movement, slow, stoic, and crystalline, lies in strong contrast to the piece's tersely intense midsection.   The finale cleverly integrates elements of all that precedes in a construct combining ternary and narrative curve. Despite nods to Bartok in its harmonic language and ostinato use, Jalbert's compositional style is not derivative.

The quartet played terrifically well, mindful of the work's myriad textures as well as its exacting demands on technical execution.