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2021-09-02 04:48:00
Recent Releases, No. 17 (CD reviews)
[…] that the sarabande was a type of dance, after all. The end result is an album of energy and grace, appropriate listening during a pandemic that is, alas, still ongoing.Astor Piazzolla: Cien Años. Piazzolla: Concerto for Bandoneon; Mosalini: Tomá, Tocá (Take It, Play It); Mosalini: Cien Años (One Hundred Years); Piazzolla/arr. Mosalini: The 4 Seasons of Buenos Aires; Piazzolla/arr. Mosalini: Libertango. Juanjo Mosalini, bandoneon; Kristina Nilsson, violin; Anne Black, viola; Steven Laven, cello; Gisèle Ben-Dor, Pro Arte Chamber Orchestra of Boston. Centaur Records CRC 3844.Some regular followers of Classical Candor might recognize the name of Argentinian composer Astor Piazzolla from JJP’s recent review (here) of a Pentatone recording that included a version of the composer’s The 4 Seasons of Buenos Aires, a different arrangement of which is included on this new Centaur CD. Others might instead remember Piazzolla as the father of the “Nuevo Tango” movement, either by hearing recordings […]
2021-07-28 07:29:51
Piazzolla explorations: celebrating the composer's centenary with recordings from Lithuania, Switzerland and the USA
[…] but then is this any different from re-arranging Las Cuatro Estaciones Portenas for Vivaldi-inspired violin and string orchestra. Like much great music, Piazzolla survives. This is an engaging disc to dip into, but frankly I am not sure about 100 minutes' worth at one sitting! Our final disc celebrates Piazzolla both with his own music and with a composer inspired by him. Uruguay-born American Israeli conductor Gisele Ben-Dor conducts Juanjo Mosalini (bandoneon) and the Pro Arte Chamber Orchestra of Boston on Centaur Records (CRC 3844) in Piazzolla's Concerto for Bandoneon, Las Cuatro Estaciones Portenas and Libertango, the latter two in Mosalini's own arrangements, plus two of his own pieces. Mosalini is Argentine-born but brought up in Paris where is father, a distinguished Argentine musician, was in exile. This performance takes us, I think, a bit closer to the original concept for the concerto. There is more of an edge, […]
The Boston Musical Intelligencer
2016-05-10 00:21:23
Pro Arte Program’s Lively Mix
Robert Bonfiglio (file photo) In an event-packed evening at Sanders Theater on Saturday, the Pro Arte Chamber Orchestra of Boston hosted the Dudamel Orchestra of the Conservatory Lab Charter School, former Music Director Gisèle Ben-Dor, and harmonica virtuoso Robert Bonfiglio. Oh yes, and they performed a colorful and imaginative assortment of mostly 20th-century music from diverse geographical sources. The Dudamel Orchestra, under the leadership of Chris Schroeder, is the orchestral crucible of CLCS’s implementation of El Sistema, and contains students from the senior levels of the K-8 school. They integrated with PACO under Ben-Dor for three brief works to open the show: the Russian Sailor’s Dance from Reinhold Glière’s ballet The Red Pony; the Dance of the Tumblers from Rimsky-Korsakov’s opera The Snow Maiden; and finally a Pops-ified arrangement of the Beatles’ I Saw Her Standing There. Making no concessions of tempo, the performances sounded bright, energetic and note-perfect. Frankly, […]
The Boston Musical Intelligencer
2015-02-16 04:41:28
Remembering Ezra Sims
[…] Music (Slonimsky took it in good spirits—he wrote the liner notes for the piece’s recording). My favorite of his works is his Sextet , originally for clarinet, saxophone, horn and string trio, but which he arranged for three clarinets and string trio so Dinosaur Annex could play it without extra performers. Other excellent works are his clarinet quintet (recorded by Dinosaur Annex), his Concert Piece for viola and orchestra (recorded by Anne Black with the Pro Arte Chamber Orchestra of Boston, where the microtonal music is written for performers familiar with Ezra’s style, mostly Dinosaur Annex veterans, and the bulk of the orchestra plays standard intonation, and a flute quartet, not to my knowledge commercially recorded, in which Ezra gave microtonal inflections to a work otherwise written in 18th-century tonality. Also on the lighter side, an early work integrating his 72-tone idiom with standard tonality, was his In Memoriam Alice […]
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