DREAMSCAPE
DREAMSCAPE
Oboe and Violin
Review:
"There is something of a consensus from Fanfare reviewers that Louis Karchin is something of an unrecognized jewel of a composer, and I am happy to add my voice to the chorus. We are in distinctly Modernist territory here (Karchin's teachers include Fred Lerdahl, Gunther Schuller, and Bruno Maderna); and yet, it is Karchin's ear that stops this from being objectivist and forbidding. Take the very first sonority of Dreamscape (2016) for oboe and violin, a melding of high oboe with a violin tremolo between written pitch and the harmonic two octaves and a fifth above. It is otherworldly, and clearly challenging for the performers; it is a measure of Jacqueline Leclair and Miranda Cuckson's control over their instruments that the sound field is so convincingly conjured. There is playfulness here, too, in amongst the quarter-tones and the multiphonics. The work is a response to Mallarme's poem "Apparition" (a love poem), and there is no doubting that Karchin explores the two instrument's relationship while, towards the end, inserting a barcarolle, acknowledging the place of the work's premiere (Venice)."
- Colin Clarke, Fanfare (03/2021)
Authored (or revised): 2016
Duration (minutes): 8
First performance: Plurimo Ensemble in Venice, Italy, Nov. 19, 2016
Book format: Score + 2 parts
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Description
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Review:
"There is something of a consensus from Fanfare reviewers that Louis Karchin is something of an unrecognized jewel of a composer, and I am happy to add my voice to the chorus. We are in distinctly Modernist territory here (Karchin's teachers include Fred Lerdahl, Gunther Schuller, and Bruno Maderna); and yet, it is Karchin's ear that stops this from being objectivist and forbidding. Take the very first sonority of Dreamscape (2016) for oboe and violin, a melding of high oboe with a violin tremolo between written pitch and the harmonic two octaves and a fifth above. It is otherworldly, and clearly challenging for the performers; it is a measure of Jacqueline Leclair and Miranda Cuckson's control over their instruments that the sound field is so convincingly conjured. There is playfulness here, too, in amongst the quarter-tones and the multiphonics. The work is a response to Mallarme's poem "Apparition" (a love poem), and there is no doubting that Karchin explores the two instrument's relationship while, towards the end, inserting a barcarolle, acknowledging the place of the work's premiere (Venice)."
- Colin Clarke, Fanfare (03/2021)
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PDF files are not refundable and are considered permanent loan rentals licensed to the customer who purchased.