The musical language of the New York-based Arnold Rosner (1945–2013) clothes the modal harmony and rhythm of pre-Baroque polyphony in rich Romantic colours, this c ombination produces a style that is instantly recognisable and immediately appealing. These four chamber works embrace a wide range of emotions, from tragic nobility to buoyant good humour, with Rosner’s use of modality adding a hint of the Orient. All these pieces are receiving their first recordings, and many of the performers were personally acquainted with the composer.
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