[…] a mischievous sense of fun, which has arguably never been more obvious than here. As i noted in my review: “the combination of voices and orchestra is used to initiate some almighty pile-ups, along […]
[…] their origins to the extent that the music seems almost to have been magicked into existence. As i remarked last month, “You’ll never quite look at a piano the same after hearing this remarkable work.” […]
[…] at its epicentre. A few months back, i was enthusing about Davíð Brynjar Franzson‘s radical treatment of the piano; in his new work on Matter and Materiality, he puts the cello into an equally radical but […]
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[…] Delighted to have been reviewed on 5:4, a blog I have huge respect for and have read for years. Check the article out here. […]
[…] a mischievous sense of fun, which has arguably never been more obvious than here. As i noted in my review: “the combination of voices and orchestra is used to initiate some almighty pile-ups, along […]
[…] their origins to the extent that the music seems almost to have been magicked into existence. As i remarked last month, “You’ll never quite look at a piano the same after hearing this remarkable work.” […]
[…] at its epicentre. A few months back, i was enthusing about Davíð Brynjar Franzson‘s radical treatment of the piano; in his new work on Matter and Materiality, he puts the cello into an equally radical but […]