'Piano Quintet' reviews

“Extraordinarily intricate in rhythm and harmony, the piece almost constantly moves on two - and sometimes five - different metrical feet at the same time… while passing with sublime, quirky ease through regions of consonance unhitched from regular keys… One might think of a weird and complex contraption that yet succeeds in flying with grace… The Piano Quintet is a piece with its own personality… the audience was glimpsing a work it will be living with.”
The New York Times (Paul Griffiths), 29 June 2002

“… this work has the density of a much longer, multi-movement work… When the irrational metrics are withheld in the recapitulation, there is a liberating effect that sends the music soaring out of any notional neoclassicism into true and original beauty. It was a staggering performance.”
The Sunday Times (Paul Driver), 30 June 2002

“Thomas Adès invents a parallel universe… In outline, this piece corresponds to the plan of many classical and romantic first movements: there is a repeated exposition of material, which is then developed and reprised in the work’s final section. Yet this design is not used
with neoclassical irony… What is surprising about this piece is the immediacy of its melodies. But this directness is offset by the way they are treated…The music is elusive and never stable, and creates a parallel universe in which everything, even time itself, is relative. Yet for all its fluid unpredictability, the structure is precisely controlled…”
The Guardian (Tom Service), 24 June 2002

< Previous News

All News

Next News >