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The de Menils’ non-denominational chapel in Houston, Texas, was an obvious source of inspiration to composers alert to the interplay of architecture and sound. Erik Satie claims a place alongside the two later modernists by virtue of his musique d’ameublement. The set is dominated by Morton Feldman’s opening Rothko Chapel, sung with glassy precision by the Houston Chamber Choir, supported by light, almost fleeting instrumental sounds, viola and celeste predominant. A very bold label might just have left it there. Despite the fascination of hearing Cage (Four2, Five) sung by a choir and the ambient prettiness of Satie’s Gnossiennes, the remainder tips towards the vapid, much like the building itself.

BRIAN MORTON Read the full review on Agora Classica


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