Geoffrey Gordon Composer

Geoffrey Gordon Composer

By Geoffrey GordonMusic
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Geoffrey Gordon Composer episodes

  • Three Summer Sketches: I. Black Earth
    This is the first movement of Geoffrey Gordon's Three Summer Sketches, for solo piano, commissioned for pianist Jeri-Mae Astolfi by the Wisconsin Arts Board, and recorded on the Ravello label. Buy the whole disc here: http://www.ravellorecords.com/wisconsinsoundscapes/
    5 min
  • QUINTET for Clarinet and Strings: Third Movement
    This is the world premiere performance of the third movement of Geoffrey Gordon's QUINTET for Clarinet and Strings, played by the JACK Quartet and New York Philharmonic principal clarinet, Anthony McGill. The New York Times called the work, commissioned by the American Music Project, "darkly seductive....."
    "Mr. Gordon’s Clarinet Quintet combines a zest for sonic experimentation with a four-movement structure built around thematic signposts — reiterations of an opening motif — that guide the listener through a colorful and atmospheric journey. That motif is built on accordion-like layered string chords from which the clarinet emerges almost coyly, with a veiled sound and sinewy flutter."
    Across four movements, the interaction between clarinet and strings changes, with moments of bright commonality and others in which the warm, musky clarinet tone contrasts with the sharper and glossier one of the string quartet. In the third movement, small cells of players break away for a series of arresting duos and a trio that chart different interpersonal dynamics. The work ends softly on a languid low clarinet trill, which Mr. McGill played so quietly that the final notes were not so much heard as felt as gently pulsating airwaves."
    The New York Times: 22 November 2015
    9 min
  • QUINTET for Clarinet and Strings: Second Movement
    This is the world premiere performance of the second movement of Geoffrey Gordon's QUINTET for Clarinet and Strings, played by the JACK Quartet and New York Philharmonic principal clarinet, Anthony McGill. The New York Times called the work, commissioned by the American Music Project, "darkly seductive....."
    "Mr. Gordon’s Clarinet Quintet combines a zest for sonic experimentation with a four-movement structure built around thematic signposts — reiterations of an opening motif — that guide the listener through a colorful and atmospheric journey. That motif is built on accordion-like layered string chords from which the clarinet emerges almost coyly, with a veiled sound and sinewy flutter."
    Across four movements, the interaction between clarinet and strings changes, with moments of bright commonality and others in which the warm, musky clarinet tone contrasts with the sharper and glossier one of the string quartet. In the third movement, small cells of players break away for a series of arresting duos and a trio that chart different interpersonal dynamics. The work ends softly on a languid low clarinet trill, which Mr. McGill played so quietly that the final notes were not so much heard as felt as gently pulsating airwaves."
    The New York Times: 22 November 2015
    10 min
  • QUINTET for Clarinet and Strings: Fourth Movement
    This is the world premiere performance of the fourth movement of Geoffrey Gordon's QUINTET for Clarinet and Strings, played by the JACK Quartet and New York Philharmonic principal clarinet, Anthony McGill. The New York Times called the work, commissioned by the American Music Project, "darkly seductive....."
    "Mr. Gordon’s Clarinet Quintet combines a zest for sonic experimentation with a four-movement structure built around thematic signposts — reiterations of an opening motif — that guide the listener through a colorful and atmospheric journey. That motif is built on accordion-like layered string chords from which the clarinet emerges almost coyly, with a veiled sound and sinewy flutter."
    Across four movements, the interaction between clarinet and strings changes, with moments of bright commonality and others in which the warm, musky clarinet tone contrasts with the sharper and glossier one of the string quartet. In the third movement, small cells of players break away for a series of arresting duos and a trio that chart different interpersonal dynamics. The work ends softly on a languid low clarinet trill, which Mr. McGill played so quietly that the final notes were not so much heard as felt as gently pulsating airwaves."
    The New York Times: 22 November 2015
    7 min
  • QUINTET for Clarinet and Strings: First Movement
    This is the world premiere performance of the first movement of Geoffrey Gordon's QUINTET for Clarinet and Strings, played by the JACK Quartet and New York Philharmonic principal clarinet, Anthony McGill. The New York Times called the work, commissioned by the American Music Project, "darkly seductive....."
    "Mr. Gordon’s Clarinet Quintet combines a zest for sonic experimentation with a four-movement structure built around thematic signposts — reiterations of an opening motif — that guide the listener through a colorful and atmospheric journey. That motif is built on accordion-like layered string chords from which the clarinet emerges almost coyly, with a veiled sound and sinewy flutter."
    Across four movements, the interaction between clarinet and strings changes, with moments of bright commonality and others in which the warm, musky clarinet tone contrasts with the sharper and glossier one of the string quartet. In the third movement, small cells of players break away for a series of arresting duos and a trio that chart different interpersonal dynamics. The work ends softly on a languid low clarinet trill, which Mr. McGill played so quietly that the final notes were not so much heard as felt as gently pulsating airwaves."
    The New York Times: 22 November 2015
    7 min
  • FATHOMS IV The Isle Is Full Of Noises
    This is the fourth movement of Geoffrey Gordon's FATHOMS, Five Impressions of Shakespeare's The Tempest (with Prelude) for cello and piano, in a performance by cellist Toke Moldrup and pianist Steven Beck, from Carnegie Hall, 17 December 2015.
    "Sometimes a thousand twangling instruments
    Will hum about mine ears; and sometimes voices,
    That, if I then had wak'd after long sleep,
    Will make me sleep again; and then, in dreaming,
    The clouds methought would open and show riches
    Ready to drop upon me, that, when I wak'd,
    I cried to dream again."
    6 min
  • FATHOMS III Caliban (and Sycorax)
    This is the third movement of Geoffrey Gordon's FATHOMS, Five Impressions of Shakespeare's The Tempest (with Prelude) for cello and piano, in a performance by cellist Toke Moldrup and pianist Steven Beck, from Carnegie Hall, 17 December 2015.
    "You taught me language, and my profit on't
    Is, I know how to curse ..."
    4 min
  • FATHOMS II Ariel And All His Quality
    This is the second movement of Geoffrey Gordon's FATHOMS, Five Impressions of Shakespeare's The Tempest (with Prelude) for cello and piano, in a performance by cellist Toke Moldrup and pianist Steven Beck, from Carnegie Hall, 17 December 2015.
    "To swim, to dive into the fire, to ride
    On the curl'd clouds ...."
    6 min
  • FATHOMS I Ferdinand And Miranda
    This is the first movement of Geoffrey Gordon's FATHOMS, Five Impressions of Shakespeare's The Tempest (with Prelude) for cello and piano, in a performance by cellist Toke Moldrup and pianist Steven Beck, from Carnegie Hall, 17 December 2015.
    Miranda: "Do you love me?"
    Ferdinand: "O heaven! O earth! Bear witness to this sound ...."
    6 min
  • FATHOMS: Prelude And Storm
    This is the prelude from Geoffrey Gordon's FATHOMS, Five Impressions of Shakespeare's The Tempest (with Prelude) for cello and piano, in a performance by cellist Toke Moldrup and pianist Steven Beck, from Carnegie Hall, 17 December 2015.
    "A most auspicious star...."
    6 min

About Geoffrey Gordon Composer

From the publisher's feed

US/UK composer Geoffrey Gordon’s contributions to the contemporary music repertoire have been and continue to be exceptional. Intense and luxuriant harmony, passionate melody and superb handling of instrumentation and sonic textures define his music. His works include orchestral, chamber and vocal works, recognised and performed by the world's top musicians and ensembles. His music has been called "darkly seductive" (The New York Times), "complex, richly-satisfying " (BBC Music Magazine), “stunning” (Philadelphia Inquirer), “iridescent and glowing” (Chicago Tribune), “taut and exhilarating” (Classical Ear), “haunting” (Strings Magazine), "gripping" (Bachtrack), "fierce and uncompromising" (MusicWeb International) and “magnificent” (Fanfare). The Philharmonia identifies “his infectious style" and “an ear for melody”; the New York Times his “zest for sonic experimentation”.