[…] – both our fault and theirs – remain almost entirely unknown and unheard here in the UK (in one of my articles i outline some reasons why). i’m therefore going to address that by devoting a couple of long […]
[…] both at the concert and a few months on i remain in two minds about the piece. As i noted in my original review, one of the risks taken by the most fervent religious contemporary composers – most obviously, in […]
[…] the music of Cyrillus Kreek. For this reason more than any other, i’ve clung to the memories of that first contact, and have returned to my recording of the radio broadcast innumerable times since. This isn’t […]
[…] Tatjana Kozlova-Johannes, whose music i’ve been marvelling at ever since first contact at the 2017 Estonian Music Days. We got together at my rented apartment in Tallinn’s Old Town during last year’s […]
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[…] – both our fault and theirs – remain almost entirely unknown and unheard here in the UK (in one of my articles i outline some reasons why). i’m therefore going to address that by devoting a couple of long […]
[…] i noted in my original review of the concert where these pieces were performed, the delicate convolution of Kreek’s […]
[…] both at the concert and a few months on i remain in two minds about the piece. As i noted in my original review, one of the risks taken by the most fervent religious contemporary composers – most obviously, in […]
[…] the music of Cyrillus Kreek. For this reason more than any other, i’ve clung to the memories of that first contact, and have returned to my recording of the radio broadcast innumerable times since. This isn’t […]
[…] Tatjana Kozlova-Johannes, whose music i’ve been marvelling at ever since first contact at the 2017 Estonian Music Days. We got together at my rented apartment in Tallinn’s Old Town during last year’s […]