The String version of Counter Currents, when compared with the full orchestral version and its changing timbres, almost sounds like a different composition. (Go to the album entitled PARAGONIA for comparison). Time Frame presents the listener with musical phraseology of intriguing hardness. Upon repeated hearings, different instruments and combinations seem to challenge one another for dominance. Maybe the piano is the winner.
More warmly plotted, the two Impromptus pass in time in a friendlier manner. This is the third version of this work, the earlier versions were duets with entirely different titles and movement names. The first involves saxophone / guitar, and the second bass flute / clavichord. This is the second recording of TransActions (go to PARAGONIA). Once again a skilled conductor has uniquely interpreted this score.
Each of the four movements of Symphony No. 7 is to be either performed or heard during simultaneous reading or recitation of four selected poems of E.E. Cummings. Though the poet did not label them as such, the four poems refer to the primitive Four Elements as listed on the disk. While J.S. Bach did not call the next work a Pre-Symphony, this score illustrates how close Bach was to the emergence of the symphony some thirty years after his death. A composer in that period merely had to adapt the so-called Baroque Trio Sonata by maintaining the two violin parts, keeping the bass line in octaves, and most importantly, eliminating the harpsichord by transforming the given figured bass into harmonic inner chords to be played by inner instruments. The Fauré Nocturne No. 6 is too powerful a piece to be restricted to only piano performance. This arrangement should prove that. — Michael G. Cunningham
CONNECT with MICHAEL G. CUNNINGHAM
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