Elias Tanenbaum – Reviews

General Reviews

“The sonatina, after an almost mystical slow movement, worked up to a perfect frenzy of intensity in its final Allegro molto with quite fascinating percussive, dissonant harmonies.” The New York Times

In the Electronic Music Studio of Manhattan School of Music

“…his work was impressive both for its technical polish and its sensitive blending of non electronic elements with his ARP-synthesized sound.” High Fidelity Magazine

“…much of the most successful improvisation in this work was in new jazz style. How sensible and obvious a source for a solution to aleatory writing.” The Village Voice

“… his music reveals a fine sensitivity to non-Western influences…realized with a mature, unobtrusive craftsmanship” John Rockwell, The New York Times

“Modernist intensity and a striking rhythmic emphasis mark the music of Elias Tanenbaum” American Record Guide

“I have never heard a more beautiful piece of electronic music…” High Fidelity

Patterns and Improvisations for Brass Quintet and Tape

“… a particularly fascinating opus: full-blooded, sensitive and original.” Stereo Review

“All the more credit to Mr. Tanenbaum then, because American composers for at least the last 20 years have been laboring away with varying success at the problem of how to share the creation of a work with the players. It worked here almost perfectly.” The Village Voice

Arp Art

“Watch out for the music of Elias Tanenbaum … this record is the find of the month so far as modern music is concerned.” High Fidelity

Rituals and Reactions

“Rituals and Reactions is a theater piece … The piece becomes more fascinating with listening” E. David Devoe, Classical

“Suffice it to say, it is an at times profound, at times sardonic, theatrical comment on the world in which we live…” Nevada State Journal

“When vocalizing, the chorus is otherworldly and there’s rarely a quiet moment throughout the entire work.” The New Records

“is one of those neo-happenings on a large and enthusiastic scale… It’s one of those things where all sorts of old groans and sighs, whistles and chants are heard from an obviously involved and amused audience…” Audio

“The composer’s use of applause was ironic, showing how easily led an audience can be, and a purposeful lack of profundity was refreshing…” Music Journal

“The piece becomes more fascinating with listening.” E. David Devoe, Fort Wayne News Sentinel.

Transformations for Flute and Tape

Seductively pleasurable sound…” Robert Palmer, The New York Times.

Last Letters from Stalingrad

“… Shadows for guitar and string quartet is a celebration of sound and counterpoint. Its easily-followed argument is, in general, a progression from non-pitched sounds to pitches and melodies” Jack Sullivan, American Record Guide