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Infodad.com, November 2015

…Fantasy, written for the unusual combination of flute…seems to have inspired Cory to produce a work that, although light in mood, hints at some depth of communication in the interplay of the instruments—and has an attractively open, airy sound throughout, with Cory showing particular skill in percussion writing that complements the comparatively light sound of flute and guitar without covering up or overwhelming the instruments. © 2015 Infodad.com Read complete review



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, November 2015

The performances are all first-rate. Eleanor Cory shows herself a composer of expressive smarts, dash and lyrical modernism, indeed a first-rank post-high modernist that has mastered a divergent harmonic-melodic way that covers much ground with a naturally assimilative yet individual approach that sounds effortless though of course a good deal of work has gone into these pieces. © 2015 Gapplegate Classical-Modern Music Review Read complete review



Ettore Garzia
Percorsi Musicali, October 2015

An invitation to rediscover the compositions of Eleanor Cory arises from the consideration of the beauty of her musical interlockings; she emphasizes the essential role of the instruments used in the composition, she builds for each of them the best language possible. In this definitive collection from Naxos, you can hear the flutes which vibrate in sudden changes of register, the strings which savor the wonderful confusion of the Austrian serialists of the early twentieth century and a piano that reorganizes the path that modal jazz has made from Gershwin to Mays. © 2015 Percorsi Musicali



David Denton
David's Review Corner, October 2015

Present day American composers are travelling down very divergent roads, Eleanor Cory belonging to those embracing the concept of avant garde modernity. Born in New Jersey in 1943, and naming Charles Wuorinen and Meyer Kupferman among her mentors, she uses as her building blocks the type of atonality dating back to the experimental era of the Second Viennese School. Yet in the Third Quartet I feel she is unhappy with those doctrines, and is also seeking new ways of expressivety that retains links with audiences who find modernism a bumpy road down which to travel. It opens in naked atonality, but soon introduces those repeated rhythmic patterns of Minimalists which find audience approval. Much the same happens in the finale, while in the second movement she introduces a most attractive melody. I checked out the work over several hearings and really got hooked on it, much in the same way that I love Steve Reich. I found the disjointed modernisms of the First Violin Sonata, completed three years ago, less to my taste, the two instruments going their own way in a series of capsulated ideas, the finale a jerky and quirky movement. Celebration is described by the composer as ‘a celebration of pianistic virtuosity’. It is certainly that, and also a godchild of Webern, its four short movements contrasting in pace and feeling, the technical challenges swept aside by the soloist, Blair McMillen. Fantasy, from 1991, is scored for flute, guitar and percussion, its nine minutes exploring sounds in the form of a mosaic. The disc does not make clear if these are live performances, but they come from various venues and over the period 2009–2014. The very differing nature of the music would disguise changes in ambience, but the sound is always good, and I will take at face value the highly committed performances in world premiere recordings. © 2015 David’s Review Corner





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