15 Songs, 1 Hour, 4 Minutes

EDITORS’ NOTES

The contemporary classical “new complexity” school favors hairpin turns, dense clusters of sound, and unusual structures. In this Chilean guitarist’s hands, the expected riot of textures associated with the trend is always sumptuously realized, with pieces like the title track (composed by James Dillon) sounding akin to otherworldly, seductive folk music. Matthew Sergeant’s “Bet Maryam” makes for a propulsive opening number, while extended-technique harmonics, muted notes, and string-slaps turn Brian Ferneyhough’s multimovement “Kurze Schatten II” into another highlight of this adventurous, spellbinding set.

EDITORS’ NOTES

The contemporary classical “new complexity” school favors hairpin turns, dense clusters of sound, and unusual structures. In this Chilean guitarist’s hands, the expected riot of textures associated with the trend is always sumptuously realized, with pieces like the title track (composed by James Dillon) sounding akin to otherworldly, seductive folk music. Matthew Sergeant’s “Bet Maryam” makes for a propulsive opening number, while extended-technique harmonics, muted notes, and string-slaps turn Brian Ferneyhough’s multimovement “Kurze Schatten II” into another highlight of this adventurous, spellbinding set.

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