A five-hour Philip Glass opera is one currently on offer
Album: The Knights, A Second of Silence (Ancalagon)
Friday 30 March 2012
The starting point for this intriguing programme from young US ensemble The Knights is Morton Feldman's suggestion that part of the magic of Schubert is "that kind of hovering, as if you're in a register you've never heard".
Album: Paul Weller, Sonik Kicks (Island)
Sunday 18 March 2012
Weller's renaissance is as heartening as it is unexpected.
Album: Florence + the Machine, Ceremonials (Island )
Friday 28 October 2011
For her follow-up to Lungs, Florence Welch wanted to make something "dramatic and really huge and kind of spooky", an intention which Ceremonials bears out with storm-cloud arrangements, big, rolling drum riffs and ghost-story songs.
Steve Reich: Drumming, Queen Elizabeth Hall, London
Wednesday 13 April 2011
Album: Karlheinz Stockhausen, Pierre Boulez, New Directions in Music (él)
Friday 03 September 2010
These early pieces by Boulez and Stockhausen may have palled slightly with age, but still impart a powerful evocation of the excitement of the postwar avant-garde.
Album: Tom Waits, Glitter & Doom Live (Anti-)
Sunday 22 November 2009
Seventeen songs lifted from 10 different venues on last year's US and European tours, and by no means a greatest hits.
Album: Terry Riley, In C (Sony Classical)
Friday 16 October 2009
Reissued to celebrate its 40th anniversary, Terry Riley's In C not only remains one of the keystone works of minimalism, but – unlike many pieces in that style – has actually grown in stature: what was once considered a strange experiment now stands as a landmark of 20th century music.
Album: Arne Deforce, Yutaka Oya, Morton Feldman: Patterns in a Chromatic Field (Aeon)
Friday 20 March 2009
The cello and piano piece Patterns in a Chromatic Field dates from the early 1980s, when Feldman's fascination with subtly asymmetric patternings was yielding to the obsession with stasis that would lead to monumental epics.
Album: Steve Reich, Daniel Variations (Nonesuch)
Sunday 20 April 2008
Propelled by darting vibes and dancing violins, Steve Reich’s four-movement memorial to the murdered American journalist Daniel Pearl interpolates apocalyptic dreams from the “Book of Daniel” with Pearl’s own words. Old Testament terror jars against the simplicity of what Pearl said to a friend when asked if he believed in an afterlife: “I don’t know... But I sure hope Gabriel likes my music.” It’s a powerful,thoughtful, loving piece but the voices of the Los Angeles Master Chorale are weak. Far superior is the London Sinfonietta’s performance: a work of classically Reichian dazzled ecstasy.
Minimalist with a message
Thursday 13 January 2005
Letter: Rubbish tip
Monday 13 December 1999
Music Review: Of minimal significance
Monday 03 November 1997








