Entertainment Weekly, January 29, 1993: Difference between revisions
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<center><h3> The Juliet Letters </h3></center> | <center><h3> The Juliet Letters </h3></center> | ||
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<center> Greg Sandow </center> | <center> Greg Sandow </center> | ||
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Elvis Costello says he has been listening to lots of classical music, so it's hardly a surprise that his latest release — ''The Juliet Letters'', a collaboration with the Brodsky string quartet — sounds very nearly classical. | Elvis Costello says he has been listening to lots of classical music, so it's hardly a surprise that his latest release — ''The Juliet Letters'', a collaboration with the Brodsky string quartet — sounds very nearly classical. | ||
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But it's the quartet that really drags the album down. We don't know who arranged the music; Costello, quoted in his record company's press release, says the process "was varied and is mysterious to contemplate." The results, though, are depressingly easy to characterize: They sound like snippets overheard on classical radio. | But it's the quartet that really drags the album down. We don't know who arranged the music; Costello, quoted in his record company's press release, says the process "was varied and is mysterious to contemplate." The results, though, are depressingly easy to characterize: They sound like snippets overheard on classical radio. | ||
The scampering introduction to a song called "Swine"? That's Bartok. The melting climax in "Dead Letter"? Pure Richard Strauss. Worse yet, the borrowings are timid. Out of the vast storehouse of classical possibilities, this "mysterious" joint effort could retrieve only two or three of the most obvious ways a string quartet might accompany a voice. All too often the strings just echo the melody. You don't need a classical background to sense the resulting constriction. | The scampering introduction to a song called "Swine"? That's [[Béla Bartók|Bartok]]. The melting climax in "Dead Letter"? Pure Richard Strauss. Worse yet, the borrowings are timid. Out of the vast storehouse of classical possibilities, this "mysterious" joint effort could retrieve only two or three of the most obvious ways a string quartet might accompany a voice. All too often the strings just echo the melody. You don't need a classical background to sense the resulting constriction. | ||
What's especially sad, of course, is that Costello's rock albums overflow with teeming, trenchant musical life. Classical music, it seems, has done him no good. Instead of expanding his horizons, the dead hand of Great Art has made them severely contract. | |||
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*[http://en.wikipedia.org/wiki/Entertainment_Weekly Wikipedia: Entertainment Weekly] | *[http://en.wikipedia.org/wiki/Entertainment_Weekly Wikipedia: Entertainment Weekly] | ||
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[[Category:Bibliography 1993 | [[Category:Bibliography]] | ||
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[[Category:Entertainment Weekly| Entertainment Weekly 1993-01-29]] | [[Category:Entertainment Weekly| Entertainment Weekly 1993-01-29]] | ||
[[Category:Magazine articles | [[Category:Magazine articles]] | ||
[[Category:Album reviews | [[Category:Album reviews]] | ||
[[Category:The Juliet Letters reviews | [[Category:The Juliet Letters reviews]] |
Latest revision as of 20:03, 23 July 2020
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