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It is good, too, to hear some of the less well known pieces alongside the warhorses. The Paraphrase sur le Te Deum, in particular, deserves to stand much higher in the ratings than it does, and the late Entree, canzona, sortie give an interesting perspective on the autumn of Dupre’s life, Straussian in its nostalgia. It is difficult to be passionate about this disc, in praise or damnation. To the extent that Dupre played his own music coolly and without excessive rubato, van Oosten is certainly being authentic. The net effect of his performances is less a demonstrable commitment to the music than an extremely efficient reading. Jeremy Filsell, in his complete Dupre cycle, gives a more red blooded performance and perhaps takes us deeper into the music as a result. The venerable organ of the Madeleine is something of a Frankenstein’s monster, being a hybrid of several aesthetics.

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