While the string music of Robert Carl may have its vaguely metaphysical aspects, as suggested by its existential or spiritual subtitles, its musical values are less conjectural; ingenious part writing, strong linear profiles, brusque harmonies, and rugged timbres are unexpected qualities in works that portend to be mystical or transcendental. There is no ephemeral preciosity or cosmic tone-painting in these pieces, just intensely expressive lines, solid dissonant counterpoint, coherent repartee, and textures that make a ...
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While the string music of Robert Carl may have its vaguely metaphysical aspects, as suggested by its existential or spiritual subtitles, its musical values are less conjectural; ingenious part writing, strong linear profiles, brusque harmonies, and rugged timbres are unexpected qualities in works that portend to be mystical or transcendental. There is no ephemeral preciosity or cosmic tone-painting in these pieces, just intensely expressive lines, solid dissonant counterpoint, coherent repartee, and textures that make a small ensemble sound greater than the sum of its parts. Open for string trio (1998) seems much fuller and richer than it should, indeed almost like a quartet; this may be due in part to the Adaskin String Trio's strongly defined, clearly audible playing, but Carl deserves most of the credit for maximizing his resources and spreading out the strings over a wide sonic range, thus creating a big, quasi-orchestral effect. If that wasn't impressive enough, the String Quartet No. 2, "Fear of...
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