Liner Notes
Cat. No. NWCR885
Release Date: 2001-01-01
St. Luke’s Chamber Ensemble: (Susan Rotholz, flute; William Blount, clarinet; William Purvis, French horn, Eriko Sato, violin; Louise Schulman, viola; Daire Fitzgerald, cello); Margaret Kampmeier, piano; The New York Virtuoso Singers; Harold Rosenbaum, conductor; Jack Allen Sutte, trumpet; Kevin Cobb, trumpet; William Purvis, French horn; Giles Bernard, trombone; Raymond Stewart, tuba; Joan Peterson Krause, soprano solo; New York New Music Ensemble: Jayn Rosenfeld, flute; Jean Kopperud, clarinet; William Purvis, French horn; Kevin Cobb, trumpet; Frank Cassara, percussion; Steven Gosling, piano; Linda Quan, violin; Christopher Finckel, cello; Jeffrey Milarsky, conductor
This is an era of pluralism, with many different musical languages vying for the attention of both creators and listeners. A composer today has no single “common language” bequeathed to her or him, but must choose between competing idioms, even if that choice simply means sticking with the style of one’s predecessors. The plethora of information, and the power of media to disperse it, makes it impossible to ignore the enlarged aesthetic field on which music plays today.
For some composers, the response is to hunker down, to choose a single expressive mode and hang tough. For others, eclecticism rules, in a cornucopia of quasi-random, postmodern profusion. And then there is a middle way (not middle-of-the-road), the way of synthesis. Composers of this ilk draw on multiple sources, but their aim is to meld them, to create a seamless blend of elements, where the music can glide continuously over an expressive/stylistic spectrum.
Eleanor Cory is such a synthesist. Her music is the result of intensive investigation of her options and the concomitant amassing of real technique to accomplish any expressive goal she sets. —Robert Carl
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Liner notes are accessible via the link above.
This is an era of pluralism, with many different musical languages vying for the attention of both creators and listeners. A composer today has no single “common language” bequeathed to her or him, but must choose between competing idioms, even if that choice simply means sticking with the style of one’s predecessors. The plethora of information, and the power of media to disperse it, makes it impossible to ignore the enlarged aesthetic field on which music plays today.
For some composers, the response is to hunker down, to choose a single expressive mode and hang tough. For others, eclecticism rules, in a cornucopia of quasi-random, postmodern profusion. And then there is a middle way (not middle-of-the-road), the way of synthesis. Composers of this ilk draw on multiple sources, but their aim is to meld them, to create a seamless blend of elements, where the music can glide continuously over an expressive/stylistic spectrum.
Eleanor Cory is such a synthesist. Her music is the result of intensive investigation of her options and the concomitant amassing of real technique to accomplish any expressive goal she sets. —Robert Carl
This title, originally issued on the CRI label, is now available as a burn-on-demand CD (CD-R) or download in MP3/320, FLAC or WAV formats. CD-Rs come in a protective sleeve; no print booklet or jewel case included. Liner notes are accessible via the link above.
Eleanor Cory: Of Mere Being
| MP3/320 | $9.99 | |
| FLAC | $9.99 | |
| WAV | $9.99 | |
| CD-R | $9.99 |
A *.pdf of the notes may be accessed here free of charge.
Track Listing
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Visions: I. -
Eleanor Cory
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Visions: II. -
Eleanor Cory
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Visions: III. -
Eleanor Cory
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Play Within a Play
Eleanor Cory
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Of Mere Being
Eleanor Cory
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Interviews
Eleanor Cory
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Bouquet: I. Adagio
Eleanor Cory
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Bouquet: II. Grave
Eleanor Cory
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Bouquet: III. Vivace
Eleanor Cory
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