{"product_id":"national-symphony-orchestra-ireland-ryan-mcadams-donnacha-dennehy-limina","title":"National Symphony Orchestra Ireland, Ryan McAdams - Donnacha Dennehy: Limina","description":"\u003cp data-start=\"35\" data-end=\"429\"\u003eNonesuch Records releases Grammy Award-winning composer \u003cstrong data-start=\"91\" data-end=\"111\"\u003eDonnacha Dennehy\u003c\/strong\u003e’s \u003cem data-start=\"114\" data-end=\"122\"\u003eLimina\u003c\/em\u003e, which features premiere recordings of two pieces: the piano concerto \u003cem data-start=\"193\" data-end=\"201\"\u003eLimina\u003c\/em\u003e and \u003cem data-start=\"206\" data-end=\"223\"\u003eViolin Concerto\u003c\/em\u003e, performed by \u003cstrong data-start=\"238\" data-end=\"277\"\u003eNational Symphony Orchestra Ireland\u003c\/strong\u003e, conductor \u003cstrong data-start=\"289\" data-end=\"305\"\u003eRyan McAdams\u003c\/strong\u003e, pianist \u003cstrong data-start=\"315\" data-end=\"333\"\u003eEliza McCarthy\u003c\/strong\u003e, and violinist \u003cstrong data-start=\"349\" data-end=\"367\"\u003eStephen Waarts\u003c\/strong\u003e. The album was recorded at the National Concert Hall, Dublin.\u003cspan aria-hidden=\"true\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-start=\"431\" data-end=\"591\"\u003eIn an interview between Dennehy and the pianist and composer \u003cstrong data-start=\"492\" data-end=\"507\"\u003eTimo Andres\u003c\/strong\u003e that appears in the liner notes, Dennehy says of the pieces’ pairing on this album:\u003c\/p\u003e\n\u003cp data-start=\"593\" data-end=\"1129\"\u003e“The \u003cem data-start=\"598\" data-end=\"615\"\u003eViolin Concerto\u003c\/em\u003e came first. And it was supposed to premiere in 2020, but obviously ... we know what happened there. That was actually my first multi-movement concerto. It really took on the idea of the concerto form, because \u003cstrong data-start=\"825\" data-end=\"846\"\u003eAugustin Hadelich\u003c\/strong\u003e [the violinist for whom the concerto was originally written] was very eager for me to write a multi-movement piece. That’s even why I called it what I called it—because I had written a piece for violin and orchestra called \u003cem data-start=\"1070\" data-end=\"1088\"\u003eElastic Harmonic\u003c\/em\u003e, which is deliberately an anti-concerto.\u003c\/p\u003e\n\u003cp data-start=\"1131\" data-end=\"1520\"\u003e“And then \u003cem data-start=\"1141\" data-end=\"1149\"\u003eLimina\u003c\/em\u003e was last. I wanted to be more wry with the form, to have a bit of joy. There’s a playfulness to it, especially the outer movements,” he continues. “The cadenzas happen at the ends of the movements and come out of transcending this threshold. And only in the last one does the soloist go back and forth with the chamber orchestra. I felt I was pushing against something.”\u003c\/p\u003e\n\u003cp data-start=\"1522\" data-end=\"2334\"\u003eHailed as “Ireland’s most important living composer” by the \u003cem data-start=\"1582\" data-end=\"1598\"\u003eNew York Times\u003c\/em\u003e, Donnacha Dennehy’s Grammy Award-winning music has been called “thrilling” (\u003cem data-start=\"1675\" data-end=\"1685\"\u003eGuardian\u003c\/em\u003e), “mesmerizing” (\u003cem data-start=\"1703\" data-end=\"1719\"\u003eNew York Times\u003c\/em\u003e), “arrestingly beautiful” (\u003cem data-start=\"1747\" data-end=\"1759\"\u003eNew Yorker\u003c\/em\u003e), and “shockingly original, while also being compulsively listenable” (\u003cem data-start=\"1831\" data-end=\"1845\"\u003eBoston Globe\u003c\/em\u003e).\u003c\/p\u003e","brand":"Nonesuch","offers":[{"title":"CD","offer_id":58401356710233,"sku":"SDZ-47857","price":17.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0588\/3455\/0945\/files\/image_3c417f8f-7f4c-435c-9d83-fe4705069552.jpg?v=1782409090","url":"https:\/\/spindizzyrecords.com\/products\/national-symphony-orchestra-ireland-ryan-mcadams-donnacha-dennehy-limina","provider":"Spindizzy Dublin","version":"1.0","type":"link"}