771:
266:
criticized the piece, remarking, "Unfortunately, all I heard was one banal idea morphing into the next, vague references to symphonic rock or to movie soundtracks, endless, rippling motion up and down unimaginative scale progressions..." He added, "It is perfectly possible that Adès's reputation has
211:
Even when the music heaves on the surface, the inner textures and voices are a riot of activity. It has long been hard to pigeonhole Mr. Adès's musical language, and so it was with this piece. For music of such audacious modernism, the overall sound was wondrously strange and somehow elemental. Hints
206:
called the piece "terrific" and observed, "As the creation saga unfolds, the music is at once reverent and playful. Galumphing basses and low brass evoke the creatures of the land, while twittering flutes and crazed piccolo announce the creatures of the sky. Long episodes evolve in arcs of brilliant
191:
wrote, "Full of the life of our own times yet so rooted in the past that it feels like family, Ades' music operates on so many different parts of the brain at once that it overpowers critical faculties. Brightly bopping scores tickle the pleasure centers. Ingenious counterpoint stimulates the
240:
is both dramatic and reflective, by turns ingratiatingly accessible and dauntingly abstruse. It seems to want to embrace the whole world — a fitting goal for the creation story — and yet it remains winningly approachable." The music was similarly praised by Andy Gill of
212:
of ancient modal harmony combine with jazzy chords and fractured rhythms. In the final section, 'Contemplation,' the theme is presented straightforwardly as the music slowly disperses into silence, to suggest touchingly that the work of creation is done. Now what?
466:
226:-like simplicity of the opening gestures forms a platform for successive processes of variation, development and contrast that eventually return to their starting point." Joshua Kosman of the
810:
314:
192:
logic-leaning synapses of the left brain. Musical fantasy and illogic mess with the right brain. By this point, who has a enough gray matter left for anything else?" He added, "
267:
influenced my expectations too far, and I will certainly explore his music further. But that will be in spite of what I experienced on
Saturday evening and not because of it."
815:
497:
825:
598:
774:
556:
616:
222:
opined, "Adès possesses the gift of producing striking and immediate ideas that are nevertheless subtly ambiguous in their impact. Here, the
795:
820:
322:
647:
528:
435:
591:
49:
on April 28, 2008. An optional video accompaniment was created for performance with the piece by Adès's then partner
800:
103:
681:
805:
379:
34:
722:
584:
440:
228:
233:
707:
533:
279:
performed by Hodges and the London
Sinfonietta was released through Signum records on January 31, 2012.
255:
119:
715:
674:
639:
502:
249:
46:
232:
called it "a vividly evocative musical-visual creation" and wrote, "Thursday's performance by the
356:
207:
piano writing where restless, filigreed, spiraling figures cascade down the keyboard." He added:
202:
42:
407:
351:
384:
347:
197:
196:
occupies a more mature space than the earlier works. But the freshness has not grown stale."
187:
467:"Album: Thomas Adès, London Sinfonietta, In Seven Days; Nancarrow Studies (Signum Classics)"
236:
came as yet another demonstration of the sheer breadth and grandeur of Adès' creative gift.
70:
30:
185:
has been praised by music critics. Reviewing the United States premiere, Mark Swed of the
756:
631:
471:
243:
107:
607:
297:
171:
38:
26:
22:
789:
223:
159:
143:
412:
301:
218:
498:"Adès: In Seven Days Nicolas Hodges (piano), London Sinfonietta, cond Thomas Adès"
748:
147:
123:
50:
740:
155:
135:
118:
The work is scored for solo piano and a large orchestra comprising three
100:
167:
151:
139:
127:
436:"S.F. Symphony review: Thomas Adès' creative take on Genesis story"
691:
666:
163:
131:
580:
529:"ADÈS In Seven Days NANCARROW Study for Player Piano 6 & 7"
576:
99:
The movements musically recount each of the seven days of the
69:
has a duration of roughly 28 minutes and is composed in seven
352:"A Soundtrack for the Chaos, Light and Dark of Creation"
732:
658:
623:
18:
In Seven Days: Concerto for Piano with Moving Image
811:Music commissioned by the Los Angeles Philharmonic
37:. It was given its world premiere by the pianist
209:
315:"San Francisco Symphony - ADÈS: In Seven Days"
592:
460:
458:
8:
522:
520:
491:
489:
380:"Ades continues with his spellbinding ways"
816:Music commissioned by the Southbank Centre
599:
585:
577:
342:
340:
80:Separation of the waters into sea and sky
293:
291:
287:
557:"Adès's In Seven Days Comes Up Short"
7:
89:Fugue – Creatures of the Sea and Sky
29:. The work was commissioned by the
826:Works based on the Book of Genesis
262:Conversely, Niels Swinkels of the
14:
555:Swinkels, Niels (10 March 2015).
770:
769:
527:Whitehouse, Richard (May 2012).
496:Hewett, Ivan (19 January 2012).
406:Hall, George (17 January 2012).
465:Gill, Andy (16 December 2011).
434:Kosman, Joshua (6 March 2015).
130:; 3rd doubling piccolo), three
1:
561:San Francisco Classical Voice
264:San Francisco Classical Voice
92:Fugue – Creatures of the Land
253:, and Richard Whitehouse of
302:In Seven Days: Program Note
170:, four percussionists, and
842:
821:Genesis creation narrative
378:Swed, Mark (29 May 2008).
767:
614:
304:. Retrieved May 27, 2016.
796:Concertos by Thomas Adès
35:Los Angeles Philharmonic
25:by the British composer
648:The Exterminating Angel
441:San Francisco Chronicle
229:San Francisco Chronicle
234:San Francisco Symphony
214:
617:List of compositions
83:Land – Grass – Trees
77:Chaos – Light – Dark
675:America: A Prophecy
503:The Daily Telegraph
408:"LSO/Adès – review"
250:The Daily Telegraph
106:as detailed in the
47:Royal Festival Hall
733:Other compositions
357:The New York Times
350:(7 January 2011).
348:Tommasini, Anthony
319:www.sfsymphony.org
203:The New York Times
104:creation narrative
86:Stars – Sun – Moon
45:under Adès at the
43:London Sinfonietta
801:2008 compositions
781:
780:
682:Violin Concerto,
385:Los Angeles Times
247:, Ivan Hewett of
198:Anthony Tommasini
188:Los Angeles Times
833:
773:
772:
684:Concentric Paths
601:
594:
587:
578:
572:
571:
569:
567:
552:
546:
545:
543:
541:
524:
515:
514:
512:
510:
493:
484:
483:
481:
479:
462:
453:
452:
450:
448:
431:
425:
424:
422:
420:
403:
397:
396:
394:
392:
375:
369:
368:
366:
364:
344:
335:
334:
332:
330:
321:. Archived from
311:
305:
295:
31:Southbank Centre
841:
840:
836:
835:
834:
832:
831:
830:
806:Piano concertos
786:
785:
782:
777:
763:
757:Traced Overhead
728:
654:
632:Powder Her Face
619:
610:
605:
575:
565:
563:
554:
553:
549:
539:
537:
526:
525:
518:
508:
506:
495:
494:
487:
477:
475:
472:The Independent
464:
463:
456:
446:
444:
433:
432:
428:
418:
416:
405:
404:
400:
390:
388:
377:
376:
372:
362:
360:
346:
345:
338:
328:
326:
325:on 9 March 2015
313:
312:
308:
296:
289:
285:
275:A recording of
273:
244:The Independent
216:George Hall of
180:
116:
114:Instrumentation
108:Book of Genesis
64:
59:
12:
11:
5:
839:
837:
829:
828:
823:
818:
813:
808:
803:
798:
788:
787:
779:
778:
768:
765:
764:
762:
761:
753:
745:
736:
734:
730:
729:
727:
726:
723:Piano Concerto
720:
712:
704:
696:
688:
679:
671:
662:
660:
656:
655:
653:
652:
644:
636:
627:
625:
621:
620:
615:
612:
611:
606:
604:
603:
596:
589:
581:
574:
573:
547:
516:
485:
454:
426:
398:
370:
336:
306:
286:
284:
281:
272:
269:
179:
176:
142:(3rd doubling
122:(2nd doubling
115:
112:
97:
96:
93:
90:
87:
84:
81:
78:
63:
60:
58:
55:
39:Nicolas Hodges
23:piano concerto
13:
10:
9:
6:
4:
3:
2:
838:
827:
824:
822:
819:
817:
814:
812:
809:
807:
804:
802:
799:
797:
794:
793:
791:
784:
776:
766:
759:
758:
754:
751:
750:
746:
743:
742:
738:
737:
735:
731:
724:
721:
718:
717:
713:
710:
709:
705:
702:
701:
700:In Seven Days
697:
694:
693:
689:
686:
685:
680:
677:
676:
672:
669:
668:
664:
663:
661:
657:
650:
649:
645:
642:
641:
637:
634:
633:
629:
628:
626:
622:
618:
613:
609:
602:
597:
595:
590:
588:
583:
582:
579:
562:
558:
551:
548:
536:
535:
530:
523:
521:
517:
505:
504:
499:
492:
490:
486:
474:
473:
468:
461:
459:
455:
443:
442:
437:
430:
427:
415:
414:
409:
402:
399:
387:
386:
381:
374:
371:
359:
358:
353:
349:
343:
341:
337:
324:
320:
316:
310:
307:
303:
299:
294:
292:
288:
282:
280:
278:
277:In Seven Days
270:
268:
265:
260:
258:
257:
252:
251:
246:
245:
239:
238:In Seven Days
235:
231:
230:
225:
221:
220:
213:
208:
205:
204:
199:
195:
194:In Seven Days
190:
189:
184:
183:In Seven Days
177:
175:
173:
169:
165:
161:
160:bass trombone
157:
153:
149:
145:
144:contrabassoon
141:
137:
133:
129:
125:
121:
113:
111:
109:
105:
102:
95:Contemplation
94:
91:
88:
85:
82:
79:
76:
75:
74:
72:
68:
67:In Seven Days
61:
56:
54:
52:
48:
44:
40:
36:
32:
28:
24:
20:
19:
783:
755:
747:
739:
714:
706:
699:
698:
690:
683:
673:
665:
646:
638:
630:
564:. Retrieved
560:
550:
538:. Retrieved
532:
507:. Retrieved
501:
476:. Retrieved
470:
445:. Retrieved
439:
429:
417:. Retrieved
413:The Guardian
411:
401:
389:. Retrieved
383:
373:
361:. Retrieved
355:
327:. Retrieved
323:the original
318:
309:
298:Adès, Thomas
276:
274:
263:
261:
254:
248:
242:
237:
227:
219:The Guardian
217:
215:
210:
201:
193:
186:
182:
181:
117:
98:
66:
65:
17:
16:
15:
749:Living Toys
640:The Tempest
608:Thomas Adès
329:10 November
57:Composition
27:Thomas Adès
790:Categories
534:Gramophone
283:References
256:Gramophone
124:alto flute
51:Tal Rosner
741:Arcadiana
716:Totentanz
659:Orchestra
271:Recording
178:Reception
156:trombones
136:clarinets
71:movements
62:Structure
775:Category
300:(2008).
152:trumpets
150:, three
146:), four
140:bassoons
138:, three
134:, three
101:Biblical
33:and the
708:Polaris
224:Copland
172:strings
168:timpani
128:piccolo
760:(1996)
752:(1994)
744:(1994)
725:(2018)
719:(2013)
711:(2010)
703:(2008)
695:(2007)
687:(2005)
678:(1999)
670:(1997)
651:(2016)
643:(2004)
635:(1995)
566:27 May
540:27 May
509:27 May
478:27 May
447:27 May
419:27 May
391:27 May
363:27 May
154:, two
120:flutes
692:Tevot
667:Asyla
624:Opera
148:horns
132:oboes
21:is a
568:2016
542:2016
511:2016
480:2016
449:2016
421:2016
393:2016
365:2016
331:2016
164:tuba
126:and
41:and
200:of
792::
559:.
531:.
519:^
500:.
488:^
469:.
457:^
438:.
410:.
382:.
354:.
339:^
317:.
290:^
259:.
174:.
166:,
162:,
158:,
110:.
73::
53:.
600:e
593:t
586:v
570:.
544:.
513:.
482:.
451:.
423:.
395:.
367:.
333:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.