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Carrick : Cycles of Evolution. Carrick.
Format : 1 CD
Durée totale : 01:00:24

Enregistrement : 2013-2014
Lieu : New York
Pays : Etats-Unis
Prise de son : Live/Studio / Stereo

Label : New World
Référence : NW80759
EAN : 0093228075929
Code Prix : DM020A

Année d'édition : 2015
Date de sortie : 01/03/2015

Genre : Classique
Richard Carrick (1971-)
Namdaemun
The Veins of Marble
Prisoner's Cinema
Sub-merge
Adagios pour orchestre à cordes
Elegy, in memory of my father)
Suspended Adagio
Solo
Adagio-Transcendent Coda

Ensemble Son
DZ4 Wind Quartet
Musiciens du New York Philharmonic
Either/Or
Ensemble Hotel Elefant
String Orchestra of Booklyn
Toomai String Quintet
Richard Carrick, piano, direction

A special feature of Richard Carrick’s (b. 1971) music has always been his fascination with creating spatial depth and dimension through subtly balanced orchestration and dynamics. Constantly in development, these qualities are salient in a new crop of pieces from 2012 through 2014, filtered through an increasing attraction to the power of rich, robust stasis, rhythmic ambiguity, and the plasticity of motivic ideas. Of the six works on this disc, the first five comprise a new cycle of compositions—Cycles of Evolution. This set of works was conceived in the vein of Carrick’s earlier Flow Cycle, but never intended to be a sequel, or even a continuation of those ideas. Where Flow Cycle uses a limited color palette and is cast in solo and chamber form, climaxing in a trio, Cycles of Evolution employs the lush, expansive rainbow of colors offered by large ensembles with conductor. Outside of Cycles of Evolution sits the final work on this disc, a four-movement set of Adagios for String Orchestra. Organized almost as a compendium of varieties of Adagios (even showing different types within single movements), Carrick distills the essence of an adagio to “a single movement, emotional response to an event.” The event in question here is the death of the composer’s father, which is treated in turn with music that evokes distress, anger, release, and comfort. Certain composers display surface gestures that define them without a doubt within the first few moments of hearing a piece. Not so with Richard Carrick. The uniquely defining aspects of Carrick’s music lie deep in the structure. It’s the way we perceive melody and form, the systematic and ruthless exploration of intervals, and the way that passing time effects our understanding of a gesture even as we are hearing it, that moves us in ways that are as difficult to define as the melodic role in any instant. It’s music that requires our attention, but the rewards far outstrip the efforts.

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