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Reviews

Press comments on individual works may be found, when available, within Music Listing pages. The following reviews refer to the music of Carl Vine in more general terms.

 

... Vine is a major talent just waiting to be discovered here in the Old World. 'Radically tonal' (his phrase), the music is accessible but vital, richly coloured with a true, distinctive gift for melody, and somehow fresher than most current European writing.

Michael White, The Independent on Sunday, (UK) March 26, 1995

Every time I read, or hear, that the world is running out of first-rate composer, someone comes along to disprove the claim... . Almost nobody had heard of Australia's Carl Vine until last fall when Michael Kieran Harvey played his Piano Sonata as part of his prize-winning stint at Ambassador's Ivo Pogorelich Piano Competition.

Alan Rich, LA Weekly, Aug 19, 1994

A formidably equipped musician with a passion for jazz and avant garde experimentation. Vine is clearly one of the most talented young composers working anywhere. His orchestral scores such as the compressed and brilliantly inventive MicroSymphony define and inhabit a unique musical world; his Piano Sonata of 1990 is one of the most significant works in the form since the great Piano Sonata of Elliott Carter.

Jim Svejda, The Record Shelf Guide to Classical CDs & Audio cassettes, - 4th Edition

A major talent ... someone capable of breaking genuinely new ground and getting things to grow in it.

Tristram Cary,The Australian, July 12, 1988

Accessibility and openness are important qualities in the music of Carl Vine. A young Australian with roots in a musical culture now firmly established on its own terms, he feels free to look both East and West for inspiration. Earlier scores like Café Concertino recall without irony the joie de vivre of Les Six, and find common ground with the modern styles of American minimalism.

Nicholas Williams, Classic CD, Oct 1994

Carl Vine writes Big Tunes. More, he scores them with Technicolour richness ... his music is rhythmically cogent (I was occasionally reminded of Roy Harris or of Copland) and makes frequent use of ostinato ... some of his most striking effects are in fact quite complex, with richly embroidered polyphony and multiple ostinatos that enable the music to move at two different speeds at once. There is abundant floridly ornamental melody, but beneath the tendrils the melodic substance is often quite simple, even innocent, derived from scale figures or brief cells... . What he wants to do is write big orchestral pieces at the end of which people feel better. I did, and so did the Sydney Symphony Orchestra, by the sound of it.

Michael Oliver, Gramophone, September 1995

My definition of a master composer is one who invariably ... finds shapely and memorable solutions for a designated musical task or problem. It fits Carl Vine, who thoroughly deserves to have Tall Poppies issue his chamber music in a series begun by Volume One.

Roger Covell, Sydney Morning Herald, June 23, 1992



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