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Rob Barnett
MusicWeb International, August 2016

Superbly done… © 2016 MusicWeb International Read complete review




Mel Martin
Audiophile Audition, February 2016

Everything is well played by the ensemble, and I’m sure getting through these pieces is a musical and physical workout. I think the disc is a worthwhile adventure into some new and startling music. © 2016 Audiophile Audition Read complete review



Steve Holtje
Culture Catch, January 2016

Best Classical Albums 2015

I find it positively riveting. © 2016 Culture Catch



Andrew Mellor
Gramophone, November 2015

…the power-loss in Venus is aurally fascinating and neatly scored; the geometric patterning of Layers of Earth has a certain delicacy… © 2015 Gramophone Read complete review on Gramophone



David Denton
David's Review Corner, October 2015

Born in 1957, Lars Graugaard is at the cutting edge of modernity, his output of works, which exceeds 200, including opera, symphonic scores and solo works. Starting out as a performing flautist, much of his more recent life has been spent as an academic and teacher, those interests taking him in 2010 to the New York University Steinhardt. There he found sophisticated facilities that opened up a new vista of compositional possibilities, and on this new release we have four works from the period 2011 to 2013, exploring both electronics and conventional instruments to produce sounds. I use that word ‘sound’ advisedly, as this is not ‘music’ in the traditional sense, though I hasten to add that I have found these mosaics to be very interesting, and may point one avenue where instruments may travel. Sadly the booklet tell us in so many words very little about the works. So I write as I find the music, Venus, scored for solo violin and double bass, electronics and orchestra, being often violent and aggressive, with moments of respite when the two soloists can be briefly heard. In contrast the Book of Throws quietly meanders, the small group of instruments forming a backdrop for an improvising pianist. Layers of Earth for oboe, interactive computer and 15 percussion is about as close as we come to conventionality, the percussion having a field-day, at times seemingly hitting everything in sight. Finally Three Places has an important role for piano, snippets of melody creeping in as it hastens to a central quiet section. The performers are mostly mentors or students at New York University, and as the composer was the disc’s producer, we can take the result was to his pleasing. © 2015 David’s Review Corner





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