As with Gentle Emanation, Tristia II flows on without a break, but with plenty of contrasts, and the impression it gives is one of a serious discourse kept from monotony by the music’s steadily changing textures and colors. The piano part contains some difficult writing, but there is no virtuos¬ity for its own sake. Instead, the piano seems to be a protagonist, responding to the music’s progress sometimes not at all, at other times quietly, and at still other times with more agitation, but always thoughtfully. Pianist Kopachevsky handles all of it very well.
RT @RobFokkens Luis Tinoco's programme on my chamber music broadcast on Portuguese classical music station Antena 2 is available here: rtp.pt/play/p285/geo… The programme's archive is well worth an explore! @ComposersEd @cardiffunimusic @DivineArtRecord
RT @heather_roche On last night's #LateJunction, there was some @fantasticdrfox on the ol' contrabass clarinet. honkhonk. honkhonkhonk. honk. (And lots of other good stuff as well!) bbc.co.uk/programmes… @BBCRadio3