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COATES, G.: String Quartet No. 9 / Solo Violin Sonata / Lyric Suite (Kreutzer Quartet, Chadwick)

Composer(s):Coates, Gloria
Artist(s)
Period(s) Contemporary
Genre Classical Music
Category Chamber MusicInstrumental
Catalogue 8.559666
Label Naxos
Quality   320kbps
 
 
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8.559666
 


The Munich-based American composer Gloria Coates is best known as a symphonist, though she has also composed nine string quartets as well as vocal and chamber music. Her String Quartet No. 9 opens with unworldly sonorities, glissandos, micro-tonalities and other unusual colours which develop by means of a mirror canon. In contrast, the Sonata for Violin Solo sets immense technical demands, particularly in its use of multiple stops beneath the lyrical fragments. Taking its subtitles from phrases within Emily Dickinson poems, her Lyric Suite for Piano Trio is a captivating mix of melodic gestures and spectral harmonies.


   




Review By Abeille Musique,August 2012

Ecrire de la musique qui sonne comme ce qui a déjà été entendu mille fois, c’est à la portée de n’importe qui. Pondre des choses ésotériques, sans queue ni tête, impossibles à mémoriser même après dix écoutes, c’est facile et ça peut même rapporter gros. Mais rares sont les compositeurs capables d’utiliser un langage simple, direct, pour produire des oeuvres complexes, voire même bizarres, immédiatement reconnaissables. Gloria Coates (* 1938) fait partie de cette dernière catégorie. Du haut de ses quinze symphonies et de ses neuf quatuors—en plus d’un impressionnant corpus de plus de cent oeuvres—elle a

Voici en Première discographique mondiale son dernier Quatuor en date, le Neuvième de 2007 : un festival de glissades contrôlées. Pour la Suite lyrique pour trio avec piano, les glissandos sont naturellement réservés aux cordes, opposés à de lourds et inébranlables accords consonants au piano, un effet saisissant. © 2010 Abeille Musique

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Review By Abeille Musique,August 2012

Ecrire de la musique qui sonne comme ce qui a déjà été entendu mille fois, c’est à la portée de n’importe qui. Pondre des choses ésotériques, sans queue ni tête, impossibles à mémoriser même après dix écoutes, c’est facile et ça peut même rapporter gros. Mais rares sont les compositeurs capables d’utiliser un langage simple, direct, pour produire des oeuvres complexes, voire même bizarres, immédiatement reconnaissables. Gloria Coates (* 1938) fait partie de cette dernière catégorie. Du haut de ses quinze symphonies et de ses neuf quatuors—en plus d’un impressionnant corpus de plus de cent oeuvres—elle a

Voici en Première discographique mondiale son dernier Quatuor en date, le Neuvième de 2007 : un festival de glissades contrôlées. Pour la Suite lyrique pour trio avec piano, les glissandos sont naturellement réservés aux cordes, opposés à de lourds et inébranlables accords consonants au piano, un effet saisissant. © 2010 Abeille Musique

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Review By Dirk Wieschollek,Fono Forum,July 2011


8.559666_Fono-Forum_072011_gr.pdf


Review By Dirk Wieschollek,Fono Forum,July 2011

Music
Sound

Gloria Coates has spent most of her time in Munich since the end of the 1960s, and yet she is not as well known in that country as she should be. A circumstance in which one would shake one’s head in amazement if he were to hear this fabulous recording realized by the Kreutzer Quartet, which has now recorded all nine string quartets of this American composer.

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Review By Olivia McCarthy,Amazon.co.uk,February 2011

The prolific composer Gloria Coates’ 9th quartet is haunting and brilliant. So rich and vivid texturally, it cannot merely be characterised by a repertoire of techniques or influences, and analysed accordingly; crucially, her style is deeply individual and intuitive as well. This composition seems to flow analogously to a densely absorbing painting, and flood the psyche in a rich palette of colours and tones: glissandos and micro-tonalities are introduced via a mirror canon and the powerful glissando canon in the middle of the piece is deeply evocative and powerful.

As a small child, she was constantly singing and experimenting with sound, and was fascinated by strings, perceiving them as an extension of the human voice.

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Review By Akihiro Taniguchi,Record Geijutsu,January 2011


8.559666_Geijutsu_012011_ja.pdf


Review By Guillaud Rollin,Amazon.fr,October 2010

Gloria Coates est une compositrice américaine mais qui vit en Allemagne qui compose une musique dite minimaliste (je préfère dire très intimiste), souvent lente, un peu répétitive mais avec de subtils alliages de timbres.

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Review By Massimo Ricci,Touching Extremes,October 2010

Gloria Coates is the female composer who has written the biggest number of symphonies—fifteen, like Shostakovich. This notwithstanding, there’s still an unjustified discretion surrounding her amazing music, principally characterized by the use of glissando but also abounding in tone clusters and altered tunings that hide hundreds of mysteries, signified by the breathtaking effects that the bordering upper partials engender across rather spacious contrapuntal designs.

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Review By Joshua Meggitt,Cyclic Defrost,September 2010

Munich-based American composer Gloria Coates is a composer whose compositions stand up and shout their authority, gripping you by the lapel and slapping you about the face. To date she’s written fifteen symphonies and nine string quartets, as well as various orchestral, chamber and vocal pieces, making her the most prolific female composer, and rivalling the output of Shostakovich. Her music centres on the unsparing use of ear-cleansing, visceral sound effects—glissandi, tone clusters, unusual tunings, extra-musical gestures—recalling trailblazing late modernists Ligeti, Penderecki and Xenakis, put to more single-minded goals.

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