[…] very simple, the physicality of sound itself. In Ire, as in its siblings Still (reviewed here) & Fletch (review coming soon), the point of origin is the trill, which Saunders describes as […]
[…] work in the concert, Rebecca Saunders‘ Fletch. As in related works Still & Ire (reviewed here & here), Fletch is dominated by the sound of the trill, here transmogrified into a vicious […]
[…] a work i’ve written about before. Saunders’ violin concerto still dates from 2011, and i explored the piece six years ago, following its first UK performance at the Barbican in February 2012. The world première, […]
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[…] very simple, the physicality of sound itself. In Ire, as in its siblings Still (reviewed here) & Fletch (review coming soon), the point of origin is the trill, which Saunders describes as […]
[…] work in the concert, Rebecca Saunders‘ Fletch. As in related works Still & Ire (reviewed here & here), Fletch is dominated by the sound of the trill, here transmogrified into a vicious […]
[…] a work i’ve written about before. Saunders’ violin concerto still dates from 2011, and i explored the piece six years ago, following its first UK performance at the Barbican in February 2012. The world première, […]