The 12 Cellists of the Berlin Philharmonic are one of continental Europe's most successful crossover ensembles and one of Germany's few exemplars of what has been called post-classical music (it's a poor term, probably derived from the equally poor "postmodern") -- music that draws on materials from the classical tradition but incorporates popular and world influences in a synthesis freely shaped by individual performers. Here the cellists draw on an international fascination with angels that shows no sign of abating, and ...
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The 12 Cellists of the Berlin Philharmonic are one of continental Europe's most successful crossover ensembles and one of Germany's few exemplars of what has been called post-classical music (it's a poor term, probably derived from the equally poor "postmodern") -- music that draws on materials from the classical tradition but incorporates popular and world influences in a synthesis freely shaped by individual performers. Here the cellists draw on an international fascination with angels that shows no sign of abating, and the program offers a suitably diverse set of perspectives on angelic themes. The Angel trilogy of Argentine tango-fusion composer Astor Piazzolla -- La muerte del 聲gel, Milonga del 聲gel, and La resurreci鏮 del 聲gel -- must have seemed an irresistible choice, not only because of the theme but also because the cello can take on such a strong rhythmic element. The Piazzolla pieces don't work so well in this context; the tango rhythms are vigorous, but the upper voices, those...
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