The music of contemporary British composer Nigel Clarke heard here is brash, absolutely direct, full of attention-getting strokes, and above all physically involving and challenging for the players. Clarke works closely with soloists not only after but during the composition of a work, sometimes incorporating players' practice and warm-up routines into his music. Violinist Peter Sheppard Skaerved is a specialist in Clarke's music, and Clarke writes mostly for the violin, although his own background is that of a military ...
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The music of contemporary British composer Nigel Clarke heard here is brash, absolutely direct, full of attention-getting strokes, and above all physically involving and challenging for the players. Clarke works closely with soloists not only after but during the composition of a work, sometimes incorporating players' practice and warm-up routines into his music. Violinist Peter Sheppard Skaerved is a specialist in Clarke's music, and Clarke writes mostly for the violin, although his own background is that of a military trumpeter. Band music gives Clarke's music its frontal-attack feel, but it is his skill at weaving a variety of other influences together that keeps the listener guessing and avoids bombast even as the music gets really loud. He draws on Stravinsky, especially his primitivist phase, Kurt Weill, world traditions, and perhaps the new virtuosity of Crumb. Sample the little Loulan for solo violin (track 3) for a taste; although most of Clarke's music is not Asian in flavor, it does evoke...
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