Cineshape & Duos
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More chamber music from distinguished composer/pianist Amy Williams.

A listener new to Amy Williams' world should not expect to need help entering it. Long an active pianist, Williams has internalized the work of Boulez, Nancarrow, Cage, Ligeti, Kurtág and Feldman, but confidently occupies the present. In fact her work combines attributes often considered opposites: it is rigorous, yet playful; abstract yet personal; stylish but as bracingly frank as a cold shower. With her music, one encounters a radiant intelligence and clear sense of musical purpose that vaults past many of the issues customarily associated with discussion of new music. This recording consists of duos as well as her Cineshape series, which is a group of striking stand-alone chamber works that together form an impressive sequence on a symphonic scale. Amy Williams' compositions have been presented at important contemporary music venues worldwide and have been performed by the Pittsburgh Symphony, the Buffalo Philharmonic, the JACK Quartet and many of the major new music ensembles. She has received numerous awards and commissions and is a U.S. Fulbright Scholar. A graduate of the University at Buffalo, she is on the faculty at the University of Pittsburgh and artistic director of the New Music On The Point Festival.
Amy Williams, composer
First Lines
Lindsey Goodman, flute; Amy Williams, piano

Amy Williams, composer
Kevin McFarland, cello; Amy Williams, piano

Amy Williams, composer
Ari Streisfeld, violin; Amy Williams, piano

Amy Williams, composer
Noah Getz, saxophone; Andrew Welch, piano

Amy Williams, composer
Cineshape 1
Lindsey Goodman, flute; Scott Christian, percussion

Amy Williams, composer
Cineshape 3
Lindsey Goodman, flute; Kevin McFarland, cello; Scott Christian, percussion

Amy Williams, composer
Cineshape 4
Amy Williams, piano

Amy Williams, composer
Cineshape 5
Lindsey Goodman, flute; JACK Quartet

"…The beginning of the notes by Allen Shawn on this superb disc of new music is so immodest on Amy Williams' behalf as to almost sound like braggadocio.…And within the circumscribed audiences for new music, what Shanw says is not only phenomenally accurate but revealing about what makes her work appealing — so much more, in fact, than a huge number of composers her age.…The performance level here is so high that any worries about classical new music having too hopelessly narrow an audience to communicate clearly are more than a little absurd. The best recording of Williams' music yet." (Buffalo News)
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