As one of the most brilliantly inventive and versatile of contemporary composers, particularly in his orchestration and effects, John Corigliano usually conveys his ideas with economy, directness and stunning clarity, and with a minimum of confusion. Unfortunately, his Symphony No. 2 for string orchestra (2000) seems a bit muddled, both in terms of what works best with this kind of ensemble, and of what constitutes a symphony. Since this piece is a reworking of Corigliano's String Quartet (1996), it seems that ideas and ...
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As one of the most brilliantly inventive and versatile of contemporary composers, particularly in his orchestration and effects, John Corigliano usually conveys his ideas with economy, directness and stunning clarity, and with a minimum of confusion. Unfortunately, his Symphony No. 2 for string orchestra (2000) seems a bit muddled, both in terms of what works best with this kind of ensemble, and of what constitutes a symphony. Since this piece is a reworking of Corigliano's String Quartet (1996), it seems that ideas and techniques that worked in the chamber medium did not translate well into the thicker, richer sonorities of the string orchestra. Similarly, the formal experimentation that is possible in chamber music does not necessarily work in larger symphonic statements; and the sense of trajectory needed in a symphony is lacking in this intimately scaled, sotto voce work. Much more successful and characteristic of the composer is the colorful orchestral suite drawn from his film score for...
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