構成数 | 1枚

合計収録時間 | 00:33:18

Personnel: Susan Jolles (harp); Laura Oatts, Victor Heifets, Elizabeth Kleinman, Michael Roth , Wenk-Goodman, Carolyn, Lenard Rivlin, Ronnie Bauch, Deborah Wong, Al Rogers, Mary Whitaker, Joyce Flissler, Carlos Villa, Alicia Edelberg, Dorothy Strahl, Joseph Schor, Ming Yeh, Martin Agee, Robert Chausow, Jean Ingraham, Ann Leathers (violin); Cathy Hall, Kevin Roy, Sandra Robbins, Linda Moss, Debra Shufelt, Janet Hill, Sarah Adams, John Lad, Lois Martin, Liuh-Wen Ting (viola); Eliana Mendoza, Dana Winograd, Maxine Neuman, Maureen Hynes, Lanny Paykin, Richard Sher, Annabelle Hoffman, Jeanne LeBlanc, Eugene J. Moye, Sarah Carter (cello); Susan Palma-Nidel, Keith Underwood (flute); Laura Conwesser (alto flute); Gary Koch, Stephen Hart , John Moses (clarinet); Mitchell Weiss (bass clarinet, contrabass clarinet); Steven Taylor , Henry Schuman, Robert Ingliss (oboe); Randy Wolfgang (English horn); Dennis L. Godburn , Frank Morelli , Douglas Quint (bassoon); James Stubbs, Raymond Mase, Lowell Hershey, Chris Gekker (trumpet); Paul Ingraham, Larry Wechsler, Michael Martin, Stewart Rose (French horn); James Daniels, Robert Biddlecome, Hugh Eddy, Richard Chamberlain (trombone); Thompson Hanks (tuba); Stephen Drury (piano); Peter Basquin (celesta); Benjamin Herman (timpani); William Manley , Robert Schultz, Craig McNutt, Gary Wallen (hand claps); James Saporito, James Baker, James Preiss (percussion). Liner Note Author: John Zorn. Director: Gabriella Thesz. Unknown Contributor Role: American Composers Orchestra. John Zorn dedicated this "requia for piano and orchestra" to all artists, explaining that he named this composition Aporias ("aporia" meaning an impossible passage), in reference to those passages that separate life from death. Appropriately, the first three sections of this modern orchestral work are elusive, a crinoline fog of overtones emanating from various parts of the orchestra, be it the string section, or the boy sopranos of the Hungarian radio children's choir. The immediate opening lures you in with a few familiar quotes, but soon the composition heads into otherworldly passages, with an exploratory treatment. In the midst of this, during "Risentito," syncopated hand claps emerge, the only explicitly solid sounds (besides the occasional piano). "Freddamente," the brass restates a fragment of the hand claps' structure, echoed by the flutes. With a range of bass drums, Eastern percussion hints, and interjections of orchestral warm-up moments, this short composition slips by in the shadows, remaining obscured even while enunciating. ~ Joslyn Layne