London Guardian, July 1, 2000: Difference between revisions
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{{Bibliography header}} | {{Bibliography header}} | ||
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<center> John L. Walters </center> | <center> John L. Walters </center> | ||
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''The Juliet Letters'', Elvis Costello's collaboration with the Brodsky Quartet, saw a classical ensemble working in the loose, creative manner of a rock or jazz group. They made music in the studio and the lines between writing, arranging, performing and recording became blurred. That experience inspired ex-Brodsky violinist Michael Thomas to score and conduct a whole Costello-based evening with the Composers Ensemble of piano, flute, clarinet and four strings. The atmospheric Almeida provided all the signifiers of hardcore contemporary, from the rows of empty seats to the silent pauses and shuffling of hastily copied parts between numbers: no crossover nonsense here. Hearing Costello's songs as chamber music, without the cracked varnish of the master's voice, is a surprise: with its resolutely British melodic invention and chord twists it's like. Darmstadt never happened. Shaky at first, the band gained confidence throughout the evening. Thomas's nervousness vanished whenever he picked up the fiddle to augment the band or play solo (for a superb "Birds Will Still Be Singing"). Narrator Johnny Brown, with jet black hair, black sweater and jeans, added a punkish element to several numbers, as he ranted Costello's acerbic words (including "Stalin Malone") over the intricate charts. | ''The Juliet Letters'', Elvis Costello's collaboration with the Brodsky Quartet, saw a classical ensemble working in the loose, creative manner of a rock or jazz group. They made music in the studio and the lines between writing, arranging, performing and recording became blurred. That experience inspired ex-Brodsky violinist Michael Thomas to score and conduct a whole Costello-based evening with the Composers Ensemble of piano, flute, clarinet and four strings. The atmospheric Almeida provided all the signifiers of hardcore contemporary, from the rows of empty seats to the silent pauses and shuffling of hastily copied parts between numbers: no crossover nonsense here. Hearing Costello's songs as chamber music, without the cracked varnish of the master's voice, is a surprise: with its resolutely British melodic invention and chord twists it's like. Darmstadt never happened. Shaky at first, the band gained confidence throughout the evening. Thomas's nervousness vanished whenever he picked up the fiddle to augment the band or play solo (for a superb "Birds Will Still Be Singing"). Narrator Johnny Brown, with jet black hair, black sweater and jeans, added a punkish element to several numbers, as he ranted Costello's acerbic words (including "Stalin Malone") over the intricate charts. | ||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:2000-07-01 | [[image:2000-07-01 London Guardian clipping 01.jpg|360px|border]] | ||
<br><small>Clipping.</small> | <br><small>Clipping.</small> | ||
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*[http://en.wikipedia.org/wiki/John_L._Walters Wikipedia: John L. Walters] | *[http://en.wikipedia.org/wiki/John_L._Walters Wikipedia: John L. Walters] | ||
{{DEFAULTSORT:Guardian 2000-07-01}} | {{DEFAULTSORT:London Guardian 2000-07-01}} | ||
[[Category:Bibliography]] | [[Category:Bibliography]] | ||
[[Category:Bibliography 2000]] | [[Category:Bibliography 2000]] | ||
[[Category:Newspaper articles]] | [[Category:Newspaper articles]] | ||
[[Category: | [[Category:London Guardian| London Guardian 2000-07-01]] | ||
[[Category:2000 concert reviews]] | [[Category:2000 concert reviews]] |
Revision as of 01:20, 12 September 2015
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