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Laurence Vittes
Gramophone, April 2015

…fresh, unique and seductively focused sound worlds…

Pianist MeiYi Foo bookends the programme with confident, embracing performances of Harman’s two moving soliloquies, After Schumann I and After Schumann II. © 2015 Gramophone Read complete review on Gramophone




Joshua Kosman
San Francisco Chronicle, March 2015

The homages that the Canadian composer Chris Paul Harman offers to Bach and Schumann on this beguiling disc are at once loving and ghostly, a sort of fond musical seance. Of the two forebears, Schumann appears in a more solidly corporeal guise, brought to life in a pair of splendid piano works played with tender clarity by MeiYi Foo. © 2015 San Francisco Chronicle Read complete review



David Denton
David's Review Corner, February 2015

Born in Canada in 1970, the multi-talented performing artist, Chris Paul Harman, belongs to that group of composers we conveniently group as ‘experimentalists’. Take, for instance,  the opening track, After Schumann I, where we have the original piece stated, and then broken up to form seven very modern and fascinating miniatures that speak in their own language. Completed in 2008, he was to repeat the same formula four years later, but this time using two contrasting Schumann pieces as the basis, his additions more continuous than in the former work. Both rely on nuances and on the performer’s ability to shape what is often very thinly scored. Moving from the conventional piano to two keyboards—including a prepared piano—and percussion, and we have 371, its title taken from the three hundred and seventy-one Bach Chorals. More impact creating with its implied sounds of the gamelan, its several sections form an extended score of unusual and absorbing sound-patterns. The 371 performers are then joined by eight members of the McGill Percussion Ensemble in the four short movements of Concertino, a work of vivacity and unusual sonorities. Based on Bach, Der Tag mit seinem Licht largely relies on delicate sounds from a sextet of flute, clarinet, violin, cello, percussion and piano, shimmering and often slow moving. These might well be concert performances recorded at many times between 2012 and 2013, the sound, both in its balance and transparency, is outstanding. © 2015 David’s Review Corner



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

This disk offers up some refreshing yet rather profound sound-forms that gives us a tonality at times highly extended and always as an alternative to classical form. Most times this is music that should be accessible to many in its poetic qualities and generally sonorous result. Yet the confirmed modernist will get much pleasure following the colors and permutations. The performances are excellent, too.

Chris Paul Harman is a composer to follow. This is a great starting point. © 2015 Gapplegate Classical-Modern Music Review Read complete review





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