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STANZA DELLA SEGNATURA, by Geoffrey Gordon.

Peacock Press (UK) and is also available as a PDF through SpencerSongs Music, Inc (www.geoffreygordoncomposer.com), 2004. 2 recs, (A doubling S) and T, bass gamba and harpsichord. Sc 52 pp, rec pts 15 pp ea, gamba pt 17 pp. Abt. $20 published, $14.50 as pdf. American composer Geoffrey Gordon (b. 1968) is composer in residence for the Xanthos Ensemble of Boston and has written works in many genres that have been widely performed and acclaimed by audience and press alike. I have found his music consistently impressive especially in its command of timbral and formal dimensions, and his work speaks with an authentic and substantial musical voice. Stanza della Segnatura (2004) is a quartet based on frescoes of Raphael located in the Vatican. The four movements of the work represent the humanist quadripartion (theology, poetry, justice, and philosophy) as well as the four elements (air, water, fire, earth). Each movement features one of the instruments as soloist (the second movement is actually for harpsichord alone, which does not play in the fourth movement). The writing throughout is colorful, dramatic, and idiomatically conceived. This is another strong work of substance and integrity from Gordon that is emblematic of the very best of contemporary composition for historical instruments that should be embraced by performers and listeners alike. TRE MICRO-MELISCHE DI APOLLO E MARSIA, by ALESSANDRA BELLINO. UT Orpheus Edizioni FL 16 (www.utorpheus.com), 2008. A, Violin. 2 Scs 11 pp ea. Abt. $18. Alessandra Bellino (b. 1970) is an Italian composer who has won numerous European prizes and is a member of the faculty of the conservatory in Benevento. She has written several works for recorder and describes this work as follows: The modern Apollo and Marsia contend for the scene in these three Micro-meliche. The choice to assign the two instruments definite gestures originates from the idea of bringing the listening back to a sonority that reminds somehow of the ancient instruments (lyra and aulos) but with an eye to the future. This is an extremely difficult piece in three brief movements. The music is entirely unmetered and filled with nearly constant use of extended techniques. Many of the effects are subtle in their aural impact, and it is music that requires a tremendous amount of technical and musical ability to execute successfully. A page of detailed explanation of all extended notation is provided; both players read from copies of the score. Carson Cooman

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