This fifth volume of Bridge's series of the works of the Danish composer Poul Ruders certainly confirms his reputation as an eclectic. The variety of orchestral, chamber, and solo pieces recorded here demonstrates that Ruders has no stylistic axe to grind nor allegiance to a particular aesthetic viewpoint. The diversity of these pieces extends to their emotional range, as well, from the whimsical to the most darkly sinister. Light Overture (A Symphonic Entertainment), for orchestra, is indeed light, a kind of airy ...
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This fifth volume of Bridge's series of the works of the Danish composer Poul Ruders certainly confirms his reputation as an eclectic. The variety of orchestral, chamber, and solo pieces recorded here demonstrates that Ruders has no stylistic axe to grind nor allegiance to a particular aesthetic viewpoint. The diversity of these pieces extends to their emotional range, as well, from the whimsical to the most darkly sinister. Light Overture (A Symphonic Entertainment), for orchestra, is indeed light, a kind of airy confection that's just off-kilter enough to let the listener know there's a serious intelligence behind it. Cembal d'Amore, named for a short-lived version of the clavecin, and scored for harpsichord and piano, inventively exploits the timbral possibilities of combining the two instruments. Ruders uses the principles of the change ringing of British bell towers in his solo for harp, Air with changes, on the Danish folk tune "Harpen's kraft." The Second Nightshade (A Symphonic Nocturne), for...
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