Editorial reviews
New York Times, April 11, 2002
"an impassioned, intense manifesto...expertly played by Michael Nicolella...[a] heartfelt journey."
Seattle Weekly, June 27, 2002
"Some will groove to this music's unapologetic juxtopositions [+]Editorial reviews
New York Times, April 11, 2002
"an impassioned, intense manifesto...expertly played by Michael Nicolella...[a] heartfelt journey."
Seattle Weekly, June 27, 2002
"Some will groove to this music's unapologetic juxtopositions; others will run for cover...either way, or both Transit must be heard"
ProgressoR.net, May 21, 2002
Six out of six stars "masterpiece"
Bay Area Reporter , June 27, 2002
"One thing is for certain: this recording will engender strong reactions...astounding musicianship...Nicolella is a virtuosic wonder"
Below are the program notes for the CD:
"Trans-it (tran'sit, -zit), n., v., -it-ed, -it-ing. -n. 1. Act or fact of passing across or through; passage from one place to another. 2. Conveyance or transportation from one to another, as of persons or goods. 3. A transition or change. 4. Astron. The passage of a heavenly body across the meridian of a given location. -v.t. 5. To pass across or through. 6. To pass over or through something; make a transit.
From the Random House Dictionary of the English Language, 1966
"Living art draws its life from the surrounding environment...we must breathe in the tangible miracles of contemporary life - the iron network of speedy communication which envelops the earth...the spasmodic struggle to conquer the unknown. "
"Manifesto of the Futurist Painters," Umberto Boccioni et al., 1910
"Speed and synthesis are characteristics of our epoch."
Edgard Varèse, 1922
The definition and quotations above are offered as a preface to the score of John Fitz Rogers's Transit. Taken together, they aptly preview the ambitious music that follows; they sketch its dizzying combination of acoustic traditions and electronic transformations, of popular colors and classical architecture, of worldly grit and celestial grandeur. The score's complexities include different strands of music occurring simultaneously at contrasting speeds, triplets within triplets and quintuplets within quintuplets, computer-driven chords pulsing up and down a keyboard faster than any human hand could execute. What the printed page can't convey is the way Rogers has joined these seemingly complicated elements into an organic, conversational music that not only breathes, but grooves; likew
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