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COATES, G.: String Quartets Nos. 1, 5 and 6 (Kreutzer Quartet)

Composer(s):Coates, Gloria
Artist(s) Kreutzer Quartet, Ensemble
Period(s) Contemporary
Genre Classical Music
Category Chamber Music
Catalogue 8.559091
Label Naxos
Quality   320kbps
Album Price
 
MP3
USD 6.99
 

 

   




Review By ReR Megacorp,

Admirably performed by the Kreuzer Quartet, these pieces open a world of constant flux and flow…extraordinary work where ‘all is solid melts into air’. © ReR Megacorp Read complete review



Review By Hans-Christian von Dadelsen ,Klassik heute,April 2002

"The American composer Gloria Coates has a highly personal and individualistic style of composing. Different chamber music sounds are combined with overlapping and shifting conceptual tendencies. A wide spectrum of microtonal colors and structures gives her music its personal identity; the constant undulating of the pitches gives one a peculiar feeling as if he were swimming in an acoustical stream, which reveals endless facets in its stillness to wildly running rapids... The excellent quartet gives an inspiring entrance into the creations of an important composer. rating 8 (10)"



Review By Hans-Christian von Dadelsen ,Klassik heute,April 2002

"The American composer Gloria Coates has a highly personal and individualistic style of composing. Different chamber music sounds are combined with overlapping and shifting conceptual tendencies. A wide spectrum of microtonal colors and structures gives her music its personal identity; the constant undulating of the pitches gives one a peculiar feeling as if he were swimming in an acoustical stream, which reveals endless facets in its stillness to wildly running rapids... The excellent quartet gives an inspiring entrance into the creations of an important composer. rating 8 (10)"



Review By Giselher Schubert,Fono Forum,May 2002

"Without a doubt, Gloria Coates has the strongest profile of any American women composer of her generation. Her music is strange and fantastic, completely personal and can easily be identified as hers; and this is true among every conceivable and varied type of music that exists, a music in which she opens up to us a totally new world of sound. Her music has become well known, often structured entirely with glissandi using strict compositional principles without producing any stiffness or mechanical, doctrinaire effect. On the contrary, the music seems to develop almost as if it were improvised in a fascinating interplay of interlacing forces of order and chaos. An unusual paradox occurs automatically in which one has the simultaneous feeling of both moving and standing still at the

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Review By John Story,Fanfare,December 2002

"The performances by the Kreutzer Quartet seem immaculate, and the recorded sound is perfect. Firmly recommended, especially at Naxos's budget price."



Review By ,Scherzo,October 2004


8.559091_SP_Scherzo_Oct04.pdf


Review By Phillip Clark,The Strand,June 2002

"The achievement of the Kreutzer Quartet in realising the technical challenges of Coate's score while playing with shattering intensity is superhuman. And, as the ghostly echoes of tonality pervade the second movement before the music's electrifying conclusion, the players make a case for it being a masterpiece of modern quartet writing."



Review By Pierre Ruhe,The Atlanta Journal-Constitution,April 2002

"The sensuous, ultra-hip music of Gloria Coates might appeal more to the electronica club crowd than to classical music traditionalists. But there are no electronics in her concert hall creations for standard violins, violas and cellos. Instead, she gets a haunting, out-of-focus, delirious sound using glissandos --- the gradual sliding from one pitch to another, like slow-motion sirens, one melding into another. In a superbly realized new album, on the budget Naxos label, we hear Coates' String Quartet No. 1 (an early work, written in 1966), No. 5 (1988) and her most recent and most exuberant, No. 6 (1999). In the nine-minute finale of her Fifth Quartet, for example, each of the four instruments has its own voice, woven around the others --- except, outrageously, they're sliding up

more....

Review By Pierre Ruhe,The Atlanta Journal-Constitution,April 2002

"The sensuous, ultra-hip music of Gloria Coates might appeal more to the electronica club crowd than to classical music traditionalists. But there are no electronics in her concert hall creations for standard violins, violas and cellos. Instead, she gets a haunting, out-of-focus, delirious sound using glissandos --- the gradual sliding from one pitch to another, like slow-motion sirens, one melding into another. In a superbly realized new album, on the budget Naxos label, we hear Coates' String Quartet No. 1 (an early work, written in 1966), No. 5 (1988) and her most recent and most exuberant, No. 6 (1999). In the nine-minute finale of her Fifth Quartet, for example, each of the four instruments has its own voice, woven around the others --- except, outrageously, they're sliding up

more....






 

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