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Matt Haimovitz : After Reading Shakespeare
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Literary-themed solo suites by three Pulitzer Prize recipients.
Genre: Classical: Contemporary
Release Date: 2007
After Reading Shakespeare Record Label: Oxingale Records
  • Buy CD - $15.00
SPECIAL: 10% discount if you buy more than one copy of it today!
Preview Song Name Time Format Price Select
After Reading Shakespeare, Lear 4:54 Album Only
After Reading Shakespeare, Katherine 1:07 Album Only
After Reading Shakespeare, Titania and Oberon 3:30 Album Only
After Reading Shakespeare, Caliban 1:57 Album Only
After Reading Shakespeare, Portia 1:55 Album Only
After Reading Shakespeare, Why hearst thou music sadly? 1:52 Album Only
After Reading Shakespeare, Our minutes hasten to their end 0:49 Album Only
After Reading Shakespeare, Rememberance of things past 2:35 Album Only
After Reading Shakespeare, Iago and Othello 4:40 Album Only
Mark Twain Sez: Growth 3:32 Album Only
Mark Twain Sez: Humor 2:27 Album Only
Mark Twain Sez: Butterfly/Kangaroo 2:09 Album Only
Mark Twain Sez: Procrastination 0:51 Album Only
Mark Twain Sez: The Heart 3:27 Album Only
Mark Twain Sez: Night 2:35 Album Only
Mark Twain Sez: We Are All Mad 2:17 Album Only
Mark Twain Sez: Day-Dreaming 4:49 Album Only
Shadow, Shadows I 6:30 Album Only
Shadow, Rambo/Rimbaud 6:01 Album Only
Shadow, Variation and Sarabande 6:43 Album Only
Shadow, Shadows II 6:50 Album Only
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Album Notes

"Lacking companion pieces to play alongside Ned Rorem's solo cello piece "After Reading Shakespeare"(1980), the adventurous cellist Matt Haimovitz commissioned substantial new solo works by Paul Moravec and Lewis Spratlin. Haimovitz's compelling new CD documents all three, opening with Rorem's set of nine dramatic miniatures, which suggest songs without words, tersely lyrical and muscular. Each movement takes its inspiration from a Shakespeare couplet (or stage direction).

The eight movements of Moravec's "Mark Twain Sez" (2006) are each tied to a Twain witticism that Haimovitz reads before leaping into the music. Like Rorem, Moravec favors unabashedly melodic writing, given an extra dash of expression by the cellist's virtuoso control and subtle phrasing. Spratlin's "Shadow" (2006) is the most abstract and aggressive music here, exploring the metaphor of the title with extreme dynamics and gestures that evoke music receding into darkness or bursting with light."
By Mark Stryker, Detroit Free Press music critic

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