Chesky, David (Orchestra Of The 21st Century) / Venetian Concertos, The
| Album: | Venetian Concertos, The | Collection: | Classical | |
| Artist: | Chesky, David (Orchestra Of The 21st Century) | Added: | Jun 2016 | |
| Label: | Chesky Records | |||
A-File Activity
| Add Date: | 2016-07-04 | Pull Date: | 2016-09-04 | Charts: | Classical/Experimental |
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Album Review
Gary Lemco
Reviewed 2016-06-27
Reviewed 2016-06-27
Chesky, David: The Venetian Concertos (Orchestra of the 21st Century)
Label: Chesky, 2016
Reviewed: 2016-06-01 Gary Lemco
Composer and record producer David Chesky (b. 1956) takes his “eclectic” cue from the Baroque Era concerto grosso style, here blended with jazz, Bebop, and funk style in an aggressive mix of Latin flavor, polyphony and modern age psychedelic architecture. String fugues, flute flourishes, polyrhythms, layered rushes of sound, and constantly shifting tempos provide plenty of musical drama in the four concertos presented. Each concerto builds to a potent finale. Mvmt 2 from Concerto No. 3 hints at Stravinsky’s The Rite of Spring. It features a prominent flute part, reminiscent of the Bach Suite No. 2. Typical of a Baroque concerto, Chesky alternates the mass sound of full ensemble against the incursions of small group, or continuo. Concerto No. 1’s dark first mvmt also features a major flute part. The style seems a combination of Bartok and (Swiss composer) Frank Martin. A certain homogeneity of sound and style makes the concertos more inter-changeable than perhaps the composer intended.
1. Venetian Concerto No. 3, Movement 1 (5:27)
2. Movement 2 (436)
3. Movement 3 (3:42)
4. Venetian Concerto No. 1, Movement 1 ((6:04)
5. Movement 2 (5:22)
6. Movement 3 (4:11)
7. Venetian Concerto No. 2, Movement 1 (6:33)
8. Movement 2 (6:17)
9. Movement 3 (3:59)
10. Venetian Concerto No. 4, Movement 1 (5:41)
11. Movement 2 (6:06)
12. Movement 3 (3:59)
Label: Chesky, 2016
Reviewed: 2016-06-01 Gary Lemco
Composer and record producer David Chesky (b. 1956) takes his “eclectic” cue from the Baroque Era concerto grosso style, here blended with jazz, Bebop, and funk style in an aggressive mix of Latin flavor, polyphony and modern age psychedelic architecture. String fugues, flute flourishes, polyrhythms, layered rushes of sound, and constantly shifting tempos provide plenty of musical drama in the four concertos presented. Each concerto builds to a potent finale. Mvmt 2 from Concerto No. 3 hints at Stravinsky’s The Rite of Spring. It features a prominent flute part, reminiscent of the Bach Suite No. 2. Typical of a Baroque concerto, Chesky alternates the mass sound of full ensemble against the incursions of small group, or continuo. Concerto No. 1’s dark first mvmt also features a major flute part. The style seems a combination of Bartok and (Swiss composer) Frank Martin. A certain homogeneity of sound and style makes the concertos more inter-changeable than perhaps the composer intended.
1. Venetian Concerto No. 3, Movement 1 (5:27)
2. Movement 2 (436)
3. Movement 3 (3:42)
4. Venetian Concerto No. 1, Movement 1 ((6:04)
5. Movement 2 (5:22)
6. Movement 3 (4:11)
7. Venetian Concerto No. 2, Movement 1 (6:33)
8. Movement 2 (6:17)
9. Movement 3 (3:59)
10. Venetian Concerto No. 4, Movement 1 (5:41)
11. Movement 2 (6:06)
12. Movement 3 (3:59)
Track Listing