Singular in his creativity and utterly independent of stylistic schools, Paul Moravec is neither postmodern nor avant-garde, but an original composer who follows his own lights. One may guardedly describe his musical language as a Bartókian amalgamation of modified tonality and the flexible harmonies of Impressionism, but one also shaped by sincere expressive needs and tailored to the capabilities of his performers. If the Tempest Fantasy (2002) for clarinet, violin, cello, and piano initially seems like a neo-Romantic ...
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Singular in his creativity and utterly independent of stylistic schools, Paul Moravec is neither postmodern nor avant-garde, but an original composer who follows his own lights. One may guardedly describe his musical language as a Bartókian amalgamation of modified tonality and the flexible harmonies of Impressionism, but one also shaped by sincere expressive needs and tailored to the capabilities of his performers. If the Tempest Fantasy (2002) for clarinet, violin, cello, and piano initially seems like a neo-Romantic throwback in its pretty harmonies and pleasant lyricism, its advanced instrumental techniques and extremely difficult passages nevertheless mark it as a completely modern work, written exclusively for virtuosos. The same acute attention to techniques is central to Moravec's Scherzo (2002), B.A.S.S. Variations, and Mood Swings (both 1999) for piano trio, all designed for the most accomplished players. Yet Moravec's expression is transparent, spontaneously affecting, and never...
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