“The composer’s self-described synthesis of art, religion and family in this piece reveals a very personal modernism that makes for more difficult listening — imagine Bartok spiked with Hebraic modal and metric shifts — but offers greater emotional rewards as well.”
Trio for Viola, Cello and Piano (1999)
Four Songs on Hebrew texts (1992-9)
String Quartet No. 2 (1991)
V’higad’ta L’vincha (And you shall tell your child) (1996)
Performers include: Curtis Macomber, Cal Wiersma, violin; Daniel Panner, Maria Lambros, viola; Michael Kannen, cello; Gerald Cohen, baritone; Marija Stroke, piano; Syracuse Children’s Chorus, Barbara Tagg, conductor.
Produced by Judith Sherman.
A fascinating take on the mid-20th century composing tradition embraces Cohen’s Jewish heritage to telling effect.
Gerald Cohen’s publisher, Oxford University Press, claims that his Trio for viola, cello and piano was written ‘to fill a particular gap in the chamber music repertoire,’ but the committed performance here by the players to whom the work is dedicated reveals a much more personal involvement. As the title of this recording implies, Cohen composes with a strong sense of tradition — one that embraces Brahms, Bartok and Britten on one hand and his own Jewish heritage on the other.
Gerald Cohen: “Generations” (CRI) Review by George Robinson Cohen is a young composer, only 41, with a sure ear for strong melodies. The instrumental pieces on this set, a trio for viola, cello and piano, and a string quartet, are sharply etched if somewhat derivative, echoing Diamond, Copland, maybe Bernstein. The setting of four Jewish texts has a nicely […]