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Grant Chu Covell
La Folia, April 2020

With a blunt motif, 31 variations and a coda, Riotte’s Météorite et ses métamorphoses establishes itself as a concentrated chain of modernist miniatures. These are unyielding pieces, not a linear series of variations, but a group that unfolds through formalist exploration and intuition. The theme, Météorite: Massif, came to the composer all at once, “a tranquil block fallen to earth from some obscure disaster.” Météorite reflects mutations in the physical world and less tangible cosmic relationships. © 2020 La Folia Read complete review

Coline Oddon
Classica, March 2015

…the wealth of the celestial body and its transformations through the atmosphere shimmers in the harmony of Riotte… © 2015 Classica

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, November 2014

Riotte gives us music on the very edges of tonality and, to our ears, beyond. The rhythmic structures are for the most part quite simple but the harmonic-melodic sequences are anything but.

Homophony, polyphony and apparently polyrhythmic sequences occur in varying combinations. The music is ear opening and will most certainly appeal to the high-modernist audiophile. They stretch your ears and give pleasure in the process.

Recommended… © 2014 Gapplegate Classical-Modern Music Review Read complete review

David Denton
David's Review Corner, October 2014

‘Constellations have become formal models for musical composition, while some composers have begun to incorporate signals emitted by astronomical bodies.’ I quote some of the words from the booklet accompanying this disc of music by the French composer, André Riotte, to signify the musical world you will enter in Météorite et ses métamorphoses. He studied both music—with Honegger and Messiaen—and electronics, and it was the latter that gave him the financial basis of life as an IT specialist at the Euroatom Joint Research Centre. It was there that he analysed the formalization of music in general research terms, leading to the creation of works from a cerebral aspect rather than emotional motivation. His work in those fields generated much interest within the cutting edge group of contemporary composers. So what of the outcome? Well if you enjoy Messiaen, then forget the disc’s copious programme notes, and just sit back and enjoy the many unusual sounds the keyboard can create in a work beginning with a Motif that is used to generate thirty-one Métamorphoses, mostly quite short. It was begun in 2001 at the age of seventy-two, and marked the peak and culmination of his musical career. It must prove a challenge of technique and concentration, its first performance given by the Belgium pianist, Thérèse Malengreau, who commits it to disc in a world premiere recording. © 2014 David’s Review Corner

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