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boulez at
eighty
the new yorker
30
may 2005
'And
the Ensemble Sospeso recently commissioned eight works in
honor of the birthday boy. One of the better efforts, ironically,
was by a pop artist...' |
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young composers
weave new notes from boulez's
the new york times
12
may 2005
'A
piano work by Thurston Moore, From the earth to the spheres,
played with virtuosic ardor by Stephen Gosling, began with
bursts of fortissimo clusters that evoked passages from Mr.
Boulez's piano sonatas...'
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this summer's
potpourri at lincoln center
the new york times
3 march
2004
'Attractions
include a screening of Un Chien Andalou with new
accompaniment by four contemporary composers, performed by
Ensemble Sospeso...' |
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elliott carter:
quintets and voices
the london times
20
february 2004
'For
anyone who loves contemporary music, this is a necessary disc...'
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carter: syringa;
tempo e tempi; shelton/solomon-glover/ensemble sospeso/arditti
quartet
the guardian [london]
6 february
2004
'Outstanding
performances of two major vocal works, one of which, Syringa,
ranks alongside Carter's greatest achievements...'
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elliott carter:
quintets and voices
the london sunday
times
1 february
2004
'This
superb disc includes the classic Syringa... a cantata
of rare originality and unremitting force...'
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an adventure
for concertgoers when video embellishes sound
the new york times
19
november 2003
'For
most of the works, digitally altered live video (by Robert
Weiss) projected the performers, many times larger than life...
these images showed the ensemble's musicians to be spectacular
actors...'
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contemporary music colors new york with french accents
le monde (paris)
15 march 2003
article en français
english translation
'The festival, which has been in preparation for months with its New York partners, finds itself fortuitously scheduled during one of the most delicate episodes of Franco-American relations....'
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paying close attention to the spectrum of sound
the new york times
3 march 2003
'Bursts of sound presented sequentially, as they are here, give the impression of narrative...'
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a night of gerard grisey at miller theater
classics today
march 2003
'One would normally be surprised to find a sell-out crowd gathered to hear a program of spectral music... An absolutely riveting performance...'
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performers let energy fly, as listeners catch the ideas
the new york times
17 december 2002
'Both concerts were full of such moments, moments when time seemed special, when something was quietly happening that had never, in your experience, happened before...'
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elegantly spiky or spikily elegant?
andante.com
december 2002
'It makes all the difference when this music is played by consummate new music specialists like Ensemble Sospeso...'
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a music so demanding that it sets you free
the sunday new york times
2 december 2002
'Indeed, this music is absorbingly intense. Do not put it in your car stereo...'
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'sounds french' invades new york
gramophone (london)
21 november 2002
'Concert spaces around New York are already bracing themselves for a French invasion...'
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next generation of performing artists to receive major support through new dna project
arts international press release
24 october 2002
'The Project was created to address the highly specific needs faced by each of these emerging artists as they enter the international marketplace...'
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hungry
dialogue between pianist and soprano
the new york times
1
october 2002
'In these swiftly passing 15 fragments, flamboyant folk influences are actually heightened by the severe
contractions...'
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times
when life grows dark and still
the new york times
29
may 2002
'...at once a touching familiarity and a poignant strangeness...'
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bbc
pieces played live and filmed
the new york times
19
march 2002
'Far and
away the most successful piece was, perhaps not insignificantly,
the one on which there had been the least collaboration...'
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a
mixed bag of composer/director film collaborations
classics today
18
march 2002
'Collaborations between composers and film directors, with live music
provided by the ever-fearless Ensemble Sospeso...'
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sound
on film
arts-electric
13
march 2002
'The "collision of media," as Cody later settles on, is "a really important step forward because I think this is part of where contemporary music is going to go—is already going."'
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classical
review · ensemble sospeso: xenakis leaves a mystery about his music's source
the new york times
24
october 2001
'Two mezzo-sopranos chant, yell and growl with the hot accompaniment of horns and trombones in pairs and a stray cello, a combination completely unexpected and completely right.'
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ensemble
sospeso: carefully scraping along, with the senses atingle
the new york times
9
april 2001
'Their execution of the sounds was breathtaking, even lovely, and they also conveyed unerringly and rivetingly the special time sense of Mr. Lachenmann's music, how it moves steadily and quietly on with hardly any propulsive force… The audience was
rapt.'
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composed
and
decomposed:
music of our
centuries
la folia
spring
2001
'…Ensemble Sospeso, previously lauded in this column, performed
Le Marteau Sans Maître. Boulez said that René Char’s poem "is the center and the absence."'
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taking
time out from
the podium to
bask in his
own melodies
the new york times
7
march 2001
'Le
Marteau,
written
nearly half a
century ago,
embraced
everything
else in a
glorious
retrospect…'
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esa-pekka
salonen as composer
american record guide
march
2001
'The new
impression of Salonen as composer won't fade quickly…'
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classical
in review (2000)
the sunday new york times
31
december 2000
'Ideally,
I wish there were no need for groups and concert spaces that
specialize in new music…'
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salonen:
a
writing-conducting
showcase in
nyc
the los
angeles times
20
december 2000
'Salonen
was both
[composer and
conductor] at
once, leading
the admirable
Ensemble
Sospeso…'
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esa-pekka
salonen: a night of firsts
the new york times
19
december 2000
'New
Yorkers had lacked many opportunities to experience Mr. Salonen
as a composer until Sunday night…'
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crossing
the divide
the new yorker
4
december 2000
'Sospeso
is emerging
as one of New
York's best
and brightest
ensembles…'
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composed
and
decomposed:
music of our
centuries
la folia
november
2000
'…I
enjoyed it so
much, my
notes are
illegible.'
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new
music,
please, but
not in a
ghetto
the sunday new york
times
29
october 2000
'On
the night of
the
Andriessen
concert, the
hall was
filled with
young
people…'
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a
hip audience
packs the
hall to hear
hip works
the new york
times
3
october 2000
'Sospeso
attracted an
enthusiastic,
strikingly
young
audience…'
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eerie
sounds, less
played than
captured in
midair
the new york
times
21
july 2000
'Its
instrumentation
was so rich,
its scoring
so exotic…'
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composed
and decomposed:
music of our
centuries
la folia
april
2000
'Sospeso
has done it
again, giving
us a
concert
you're
unlikely to
find anywhere
else…'
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rihm,
on the other
hand
the village
voice
7
march 2000
'His
intuitive
omnivorousness
gives [Rihm's]
music a sort
of thorny,
non-pretty
accessibility…'
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eerie
spaces where
elegance and
brutality collide
the new york
times
22
february 2000
'An
earnestness
of purpose, a
carefully
constructed
density of
thought…'
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ircam
at columbia:
sospeso concert
the computer
music journal
1
december 1999
'Sospeso
is certainly
one of the
most
interesting
American
ensembles…'
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vive
la différence
(electronic)
the new york
times
22
november 1999
'The
instruments
will seem to
be rushing
backward but
getting
bigger, or
charging away
but staying
in the same
place…'
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gentleness
with just a touch
of spikiness
the new york
times
20
september
1999
'The
interplay of
the strings,
winds, harps,
and
percussion,
each
unfolding at
a different
speed,
created the
sense of a
complex
mechanism…'
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mating
music to poetry
the new york
times
25
may 1999
'Mr
Schiff
suggested…
that Mr
Carter's
music, which
sets craggy
Greek Orpheus
texts against
Mr Ashbery's
limpid
English, was
an assault on
the
poetry…'
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a
french
phenom,
a protégé of
boulez
the new york
times
5
december 1998
'A
sort of cross
between Mr
Boulez's
idiom and
that of Steve
Reich, if
such a merger
can be
imagined…'
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guerrilla
group
the seattle
weekly
12
march 1998
'Sospeso
has made
immediate and
lasting
impressions…'
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