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Track(s) taken from LSO5061

Flēotan

composer

London Symphony Orchestra, François-Xavier Roth (conductor)
Studio Master FLAC & ALAC downloads available
CD-Quality:
Studio Master:
CD-Quality:
Studio Master:
Recording details: October 2012
LSO St Luke's, London, United Kingdom
Produced by Jonathan Stokes
Engineered by Neil Hutchinson
Release date: May 2013
Total duration: 3 minutes 46 seconds
 

Reviews

'There are plenty of imaginative sounds in The Panufnik Legacies, a CD from the LSO showcasing works by young composers. In Flēotan, Charlie Piper creates the sense of sounds suspended in the air, while in Christopher Mayo’s Therma, earthy rumblings gradually erupt. A highlight for me, though, was Eloise Nancie Gynn’s Sakura (cherry blossom) in which darker forces emerge and subside against a backdrop of atmospheric shimmers' (BBC Music Magazine)

'There are 11 firecrackers on this disc, written by 10 composers who have been nurtured by the LSO’s Panufnik Young Composers Scheme' (The Daily Telegraph)

'The Panufnik Legacies is an extremely valuable release, demonstrating the London Symphony Orchestra’s commitment to contemporary music, François-Xavier Roth’s dynamic and committed conducting, and that music being written right now is in very good health' (Classical Source)

'This is certainly a disc for those who are musically curious, and maybe the best way in is through Jason Yarde’s coolly inviting Rude Awakening!, which lives up to its name! The LSO plays marvellously for the unstinting François-Xavier Roth. There is much to relish here, the music of now and the future. What’s more, the sound is superb in its clarity and impact, not transferred too loudly (as can be the case these days), allowing the orchestra space and dynamism. All round, very impressive' (Hi-Fi Critic)
Flēotan is an Old English word meaning ‘to float’ and also forms the etymological root of the word ‘fleeting’. The music grows out of a hovering and quickly oscillating melodic line presented at the beginning, which transforms through different colours and registers, expanding and contracting, constantly deviating from course. The piece shifts ‘fleetingly’ through different distinct sections, held together by the melodic movement and continually descending harmonic sequence. The initial material is quite restrained and clear in purpose but throughout the piece becomes denser, more angular and erratic, culminating in an explosive finish.

Flēotan was written as a sketch or study for a larger work, The Twittering Machine, written in 2008 also for the London Symphony Orchestra.

from notes by Charlie Piper © 2013

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