Exposed on the Cliffs of the Heart
Track Listings
| 1. Exposed on the Cliffs of the Heart | ||
| 2. Ariadne's Crown | ||
| 3. Toccata | ||
| 4. Rendezvous With Hyakutake | ||
| 5. The Rapture of Beta Lyrae |
Exposed on the Cliffs of the Heart, Music, Terry Winter Owens, Francisco Monteiro
Average customer rating:
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Exposed on the Cliffs of the Heart
ProductGroup: Music Binding: Audio CD ASIN: B0000505DN Release Date: 2000-09-27 |
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Customer Reviews:
Exposed on the cliffs of the heart.......2006-11-07
Classic Terry.......2005-02-05
Music for the Ear and the Mind.......2001-04-21
As virtuosically performed by the Portuguese pianist Francisco Monteiro, these works shimmer with a sparkle and radiance that illuminate for us an ethereal style of piano composition not often heard or recorded. Unlike many contemporary or avant-garde works that give the impression of being studies in distress, these newly recorded works of Terry Winter Owens are New Music that appeals to both the ear and the mind and bear relistening for their sheer atmospheric power.
A more perfect marriage of talents between composer and performer, as exemplified in this fine recording, would indeed be hard to find.
Sure...the music is beautiful..........2001-04-17
However, "the figurative, vibrant sounds of a sparkling body of gases" about sums it up! Plop plop fizz fizz anyone?
Journeys Through Space: Piano Works by Terry Winter Owens.......2001-04-06
In Ariadne's Crown, the astronomical reference is anything but extraneous. A cyclic and echo-like sound environment is realized, generated by the interweaving of two pianos -- Gemini voices that seem to occupy a fixed domain in space, like grouped stars in a constellation. Paradoxically, this music directs one's attention inwardly as if to mimic the outward journey in sound.
In Toccata, we experience an intensely atmospheric work that opens delicately with a recurring water-droplet-like motif. While its phraseology is seemingly cyclical and echoic, the piece gradually shifts its focus, becoming more clearly deliberate in its intensity. Then, returning to a more meditative mood, the work seems to survey a soundscape of icy brittleness in the piano's higher registers, a geography frozen in time, as if by falling snow, and animated now and then by occasional gusts and rushes of swirling and punctuating notes as if to suggest the tenuousness and changing nature of physical phenomena.
Finally, in Rendezvous With Hyakutake, terrestrial sounds pay tribute to an aberrant celestial body. Actually, it is as if the depicted rendezvous between planet and comet were being viewed from a great distance. And yet, in the hush of a universal silence, we hear the figurative, vibrant sounds of a sparkling body of gases hurtling through incalculable time and distance. In effect, we hear the comet's voice as an imagined soliloquy in space -- insistent and exotic.
Indeed, this is music that has power and suggestiveness, an experience worth having.
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