A continuación aparece una instantánea de la página web tal y como aparecía en 14/3/2024 (la última vez que nuestro rastreador la visitó). Esta es la versión de la página que se usó para la clasificación de los resultados de búsqueda. Puede que la página haya cambiado desde la última vez que la guardamos en caché. Para ver lo que puede haber cambiado (sin la información destacada), ve a la página actual.
Bing no se hace responsable del contenido de esta página.
Ethel, Cassatt String Quartet, Lark Quartet, Julia Wolfe - Julia Wolfe: The String Quartets - Amazon.com Music
New Condition Price: $19.45 New Condition Price: $19.45$19.45
The “New” price refers to the current Featured Offer price for a NEW version of the item. You may see this displayed as a strike-through price for used offers. Learn more
Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them.
To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. It also analyzed reviews to verify trustworthiness.
which is nice once in a while. That's just the first piece, which I've also watched on Youtube performed by an all-female ensemble -- I'm not sure but it's possible the fact that a female composer has a composition this aggressive may be "empowering" or something to some people but it doesn't really seem either the end of the world nor the start of something big. I like it, but it's not on the level of Bartok's String Quartet #4. It's okay.
What made me get this CD of Julia Wolfe's String Quartets was her citing of influences from Beethoven to Led Zeppelin. Specifically these string quartets were said to be inspired by Led Zeppelin and other American 'pop' music. I had to hear it.
Know what you're getting into before you buy this CD. All the pieces brush close to minimalism but with more intensity, less pure harmonies, and much better rhythm. You won't find shimmering, sweet harmonies but rather harsh and blunt harmonies. Her influences for these works seem to come from rock and metal less than from Beethoven, Schubert, or the like.
The first quartet, 'Big Deep', plays true to its name. It's an almost non-stop rhythmic work on some harsh, low chords. It almost reminds me of a metal band like Meshuggah being transcribed to String Quartet. It sounds like the soundtrack to an aggressive underwater expedition by the Discovery Channel. Different short, adventurous melodies try to break through on the violins occasionally but are always beaten down back into the 'big deep' of the rhythmic chords. It gets progressively more dissonant and harsher towards the end, building up a violent undercurrent that crashes against the end as suddenly as it began.
'Four Marys' is definately the most abstract sounding of the pieces. It is less repetitive than Big Deep. It begins with all parts doing glissandos, sliding around the middle registers. This eventually turns into some webs of soft harmonies sustained, and occasionally reverts back to its searching, sliding beginnings.
'Last Summer' is more remeniscent of the first piece, back to the grinding chords, but not as deep and to me not as memorable. It has more moments of melody, which is to say a few brief snatches of melody over 10 minutes. It's the least impressive work on the album to me.
If you're looking for music with brilliant progression, challenging harmonies and deeply emotional melody, this CD is not for you. If you want to hear some excellent rhythm work and see what happens when you take a classical medium into more modern rhythm and chord methods of rock and metal music (though i'm sure Wolfe wouldn't characterize it quite like that), then definately give this CD a shot.
Reviewed in the United States on December 19, 2004
The New Yorker included this CD as one of its top classical releases of 2003, and that's how I ended up with one of the only CD's, of hundred's I've purchased, that I'm desperate to get rid of. The first track opens with a grinding, jarring riff that's a bit of Purple Haze without the satisfaction of any kind of resolution or even progression. It churns relentlessly and repetitively for over 13 minutes with the one moment of glory the beautiful respite of silence that comes when the last dissonant chord fades. The next track oscillates in and out of harmony, an effect that could be reproduced by a house DJ (with a death wish) who messed with the speed control of turntable playing Philip Glass in a dirge-like mode. The third track -- well, who knows -- my pain threshold had long since been met and crossed.
As a casual classical music fan, I can't claim to make sense of all of this. But if this is what passes as new, interesting, and innovative classical music then it is no wonder the genre is in trouble. If it's pleasure you're after, look elsewhere. If you like your music as a self-flagellating intellectual exercise, then this may be the one for you. Just keep the Advil nearby.
Open Web Player
