Line Drawings: Chamber Music of John Liberatore
Download from iTunes Quantity in Basket: None JOHN LIBERATORE Line Drawings: Chamber Music of John Liberatore TROY1736 - Price: $16.99
 play sound file need help?
Go Back >

 

A recording of chamber works by the distinguished composer John Liberatore.

Taken together, the works on this portrait album of composer John Liberatore, are an eclectic mélange of instrumentations and affects, sometimes whimsical or wistful, dark or light. But each of them was composed in the same way, and in close proximity to each other. Liberatore is a composer, pianist, and one of the world's few glass harmonica players. Described by critics as "enchanting" and "truly magical," his music seeks poignancy through levity, ambiguity through transparency, and complexity within simple textures. The recipient of numerous awards and commissions, his music has received hundreds of performances in venues around the world, including The Kennedy Center, Carnegie's Weill Hall, and the Seoul Arts Center, among many others. A graduate of Eastman and Syracuse University, he is assistant professor of composition and theory at the University of Notre Dame.
Contents:
John Liberatore, composer
Six Line Drawings
Ryan MacEvoy McCullough (piano)

John Liberatore, composer
a tree-sprout, a nameless weed
Mivos Quartet

John Liberatore, composer
The Soughing Wind
Molly Barth (flute); Dieter Hennings (guitar)

John Liberatore, composer
A Line Broken, Traced
Jan Berry Baker (saxophone); Stuart Gerber (percussion)

John Liberatore, composer
Had They Remained
Jamie Jordan (soprano); Daniel Druckman (percussion); John Liberatore (glass harmonica)
Review:
"Line Drawings, the title of composer John Liberatore's new album from Albany Records, refers to the eponymous piano suite that opens the recording. However, the title has a deeper significance. To hear the music on this disc -- all "composed in the same way, and in close proximity," according to Liberatore's notes -- is to feel pulled along at varying speeds in multiple directions, but always forward. The word compelling fails to capture the way this music ventures forth and draws the listener with it. Inviting works better, in every sense of that word." (Clevelandclassical.com)