Matt Haimovitz | After Reading Shakespeare

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CANADA - Québec

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Classical: Contemporary Classical: Chamber Music Moods: Solo Instrumental
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After Reading Shakespeare

by Matt Haimovitz

Literary-themed solo suites by three Pulitzer Prize recipients.
Genre: Classical: Contemporary
Release Date: 

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Tracks

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1. After Reading Shakespeare, Lear
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4:54 album only
2. After Reading Shakespeare, Katherine
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1:07 album only
3. After Reading Shakespeare, Titania and Oberon
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3:30 album only
4. After Reading Shakespeare, Caliban
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1:57 album only
5. After Reading Shakespeare, Portia
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1:55 album only
6. After Reading Shakespeare, Why hearst thou music sadly?
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1:52 album only
7. After Reading Shakespeare, Our minutes hasten to their end
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0:49 album only
8. After Reading Shakespeare, Rememberance of things past
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2:35 album only
9. After Reading Shakespeare, Iago and Othello
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4:40 album only
10. Mark Twain Sez: Growth
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3:32 album only
11. Mark Twain Sez: Humor
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2:27 album only
12. Mark Twain Sez: Butterfly/Kangaroo
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2:09 album only
13. Mark Twain Sez: Procrastination
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0:51 album only
14. Mark Twain Sez: The Heart
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3:27 album only
15. Mark Twain Sez: Night
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2:35 album only
16. Mark Twain Sez: We Are All Mad
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2:17 album only
17. Mark Twain Sez: Day-Dreaming
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4:49 album only
18. Shadow, Shadows I
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6:30 album only
19. Shadow, Rambo/Rimbaud
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6:01 album only
20. Shadow, Variation and Sarabande
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6:43 album only
21. Shadow, Shadows II
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6:50 album only
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ABOUT THIS ALBUM


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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