Sarah chang torrent

We're all taking it one day at a time, but at a certain point, you have to realize that the concerts For now, I'm finding such comfort in going back to Bach and Mozart; it's something that's very cleansing and beautiful.

With what's going on right now, it just seems very fitting. Search Query Show Search. Digital Features. Show Search Search Query. Play Live Radio. Next Up:. Available On Air Stations. All Streams. Arts Desk. Speaking from homes, gardens, and hotel rooms as tours resume, they reflect on their experiences and discoveries about life today. Facebook Twitter Email Print.

Nicole Fischer. I'm finding such comfort in going back to Bach and Mozart; it's something that's very cleansing and beautiful. Susan Lewis. As senior producer of arts and culture, Susan writes and produces stories about music and the arts. See stories by Susan Lewis. What's Close to Sarah Chang's Heart? Soon afterwards, she played with The Philadelphia….

The English choreographer Christopher Wheeldon wanted to use an existing work of mine, Cumnock Fair, for dance, but it was not long enough. He asked me to create more music, so I added a central Adagio and a fast Finale. I decided to revisit the Muir poem for inspiration for the two new movements. Cumnock Fair is a twelve-minute fantasy based on dance melodies by the eighteenth century Cumnock composer John French, who was a friend of Robert Burns and James Boswell.

The music covers a number of moods from the playful, the rustic, the archaic, the ungainly, the dreamy, the boisterous, the stately, the brutal and grotesque to the mysterious and unnerving. Shambards begins with the final fragment of the previous movement, now presented in a momentarily mournful context. Memories of Burnsian folksong inform much of the melodic drift, but it is interrupted by new dance tunes.

This follows a traditional 8-bar structure and is made up of three tunes, in B minor, D major, and A major. Orpheus is truly at its best here, playing with as much energy and passion as the much ballyhooed recording with the Venice Baroque Orchestra.

The sound is impressively full given the group's relatively small size; articulation and intonation line up with incredible precision. Regrettably, Chang does not play with the same level of refinement. Her playing on this album is quite forced and harsh-sounding that does not match well at all with the superb orchestral accompaniment. Tempos also fluctuate unnecessarily while Chang is playing as opposed to the rock-steady pace set by the orchestra alone.

The liner notes include the sonnets Vivaldi included with the four concertos -- something frequently left out of most recordings -- but this does not make up for Chang 's brash, unnuanced offering. AllMusic relies heavily on JavaScript.

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