The music of Polish composer Weronika Ratusinska (born 1977) bears little relationship to the traditions of her national predecessors like Lutoslawski or Penderecki. It sounds much more closely related to American post-minimalism, some pieces reminiscent of John Adams, some of Terry Riley, and some of Steve Reich. Her String Quartet No. 2, "Last Moments," particularly the last movement, is strikingly Reichian in its harmonies, use of canon, and juxtaposed repeating patterns, while its feral energy calls Riley's quartets to ...
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The music of Polish composer Weronika Ratusinska (born 1977) bears little relationship to the traditions of her national predecessors like Lutoslawski or Penderecki. It sounds much more closely related to American post-minimalism, some pieces reminiscent of John Adams, some of Terry Riley, and some of Steve Reich. Her String Quartet No. 2, "Last Moments," particularly the last movement, is strikingly Reichian in its harmonies, use of canon, and juxtaposed repeating patterns, while its feral energy calls Riley's quartets to mind. For a piece that's transparently faux-Reich, though, it's skillfully put together and an engaging listening experience when taken on its own terms. Nymphs, for the intriguing combination of soprano saxophone and harpsichord, is hardly groundbreaking, but it's endearingly sweet and unprepossessing. Ratusinska's Concerto for amplified violin, ensemble, and tape is the CD's most impressive and original piece. The influences of minimalism are still apparent, but processed through a...
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