“Interactivity proved even more beneficial on the concert’s second half, when flutist Michael Avitabile, the ensemble’s executive director, interviewed Topel before playing his ‘Details on the Strasbourg Rosace’ (2014),” writes the Globe. “Reading a program note about how Topel conceived pitch combinations and electronic-noise timbres to represent hues and black space in a stained-glass window, and how he meaningfully quoted a prismatic Scriabin piano sonata, obviously could be beneficial.
“But hearing those elements demonstrated beforehand helped a listener to identify them in the context of Topel’s elegant aural frieze; seeing an illuminated digital image of the glorious window, you understood why Topel felt inspired,” the Globe writes.
Read the full story, published 12/16/14 by The Boston Globe.
