Review in The Times of the London RFH concert with the London Sinfonietta on 27 April 2008: "Thomas Adès work [Creation], involving six large screens on which a dazzling fantasy of colour and semi-abstraction sustained itself for half an hour, could hardly have been more alluring. The music was just as dazzling as the visuals, and was its own kind of novel imagery. The title refers to the seven days of creation, and the screen at the start shows the bare ocean, but Adès’s equivalent is a strangely poised and delicate string music with a vaguely Elizabethan-consort flavour. In the fifth of the seven (continuous) movements, there is a parallel display of the upper woodwind, a nine-part burbling that suggested Messiaen birdsong or an excursion from the piano concerto by Michael Tippett. Adès’s solo writing looks even more demanding than Tippett’s, and glories in extremes of register, but one notices that, for all the intricacy of the score’s notation, the actual sounds are transparent and instantly telling. One left the hall lost in a kaleidoscope of colour, touched by an exquisitely decorative experience."
Sunday, May 04, 2008
[261.1] THOMAS ADES' CREATION
Review in The Times of the London RFH concert with the London Sinfonietta on 27 April 2008: "Thomas Adès work [Creation], involving six large screens on which a dazzling fantasy of colour and semi-abstraction sustained itself for half an hour, could hardly have been more alluring. The music was just as dazzling as the visuals, and was its own kind of novel imagery. The title refers to the seven days of creation, and the screen at the start shows the bare ocean, but Adès’s equivalent is a strangely poised and delicate string music with a vaguely Elizabethan-consort flavour. In the fifth of the seven (continuous) movements, there is a parallel display of the upper woodwind, a nine-part burbling that suggested Messiaen birdsong or an excursion from the piano concerto by Michael Tippett. Adès’s solo writing looks even more demanding than Tippett’s, and glories in extremes of register, but one notices that, for all the intricacy of the score’s notation, the actual sounds are transparent and instantly telling. One left the hall lost in a kaleidoscope of colour, touched by an exquisitely decorative experience."
Review in The Times of the London RFH concert with the London Sinfonietta on 27 April 2008: "Thomas Adès work [Creation], involving six large screens on which a dazzling fantasy of colour and semi-abstraction sustained itself for half an hour, could hardly have been more alluring. The music was just as dazzling as the visuals, and was its own kind of novel imagery. The title refers to the seven days of creation, and the screen at the start shows the bare ocean, but Adès’s equivalent is a strangely poised and delicate string music with a vaguely Elizabethan-consort flavour. In the fifth of the seven (continuous) movements, there is a parallel display of the upper woodwind, a nine-part burbling that suggested Messiaen birdsong or an excursion from the piano concerto by Michael Tippett. Adès’s solo writing looks even more demanding than Tippett’s, and glories in extremes of register, but one notices that, for all the intricacy of the score’s notation, the actual sounds are transparent and instantly telling. One left the hall lost in a kaleidoscope of colour, touched by an exquisitely decorative experience."
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