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| | MacMillan, Prokofiev, Brahms: Midori (violin), New York Philharmonic, Marin Alsop (conductor), Avery Fisher Hall, New ... (Site not responding. Last check: ) |
 | | Before beginning James MacMillan’s The Confession of Isobel Gowdie (that put him on the compositional map), Marin Alsop turned to the audience to comment on its subject matter: a Scottish woman who was one of thousands suspected of witchcraft between 1560 and 1707. |
 | | After a quiet opening, Macmillan gradually increases the decibel level, ever more piercing, depicting the horrible pain inflicted on Gowdie, culminating in a violent middle section filled with huge orchestral outbursts, and then recedes, perhaps accompanying Gowdie’s ascent into a calmer plane as she finds some peace in death. |
 | | I’m a great admirer of MacMillan’s work, having heard his impressive Third Symphony (“Silence”) and sonically unhinged A Scotch Bestiary last season, and although I don’t think Gowdie is quite in the same league, as an earlier work it is valuable for its insight into his growth. |
| www.musicweb-international.com /SandH/2005/Jul-Dec05/alsop1510.htm (661 words) |
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