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  • Gorgon
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Most Helpful Customer Reviews on (beta) 3 reviews
20 of 20 people found the following review helpful
Makes "Rite of Spring" seem like a frolic in a baby bath! Aug. 3 1999
By Jeff Dunn - Published on
This is the best collection available of the music of Christopher Rouse, one of the most audience-pleasing Americans writing today. The Trombone Concerto won the Pulitzer Prize for its mastery of form and content--but it also speaks as a heartfelt tribute to the memory of Leonard Bernstein.
"Gorgon" is an astounding creation, one of the loudest pieces ever written, adding 75 percussion instruments to the full orchestra. Its frightening relentlessness will test the capacity of the best stereo system. Rouse does you blotto with the ostinato. Not for the squeamish; but for those who can take it, it may well prove to be the most exciting investment of a lifetime.
19 of 19 people found the following review helpful
a magnificent disc June 10 2001
By "dancergirl" - Published on
Rouse' Trombone Concerto won the Pulitzer Prize in 1993. There are two recordings of it, this one and a BIS recording with Christian Lindberg as soloist. Both of these are excellent, though I'd perhaps give this RCA CD the edge because of the playing of Joseph Alessi, for whom the concerto was written. Like many of Rouse's works, this is a dark and somber meditation on death, and it is deeply, deeply moving. "Iscariot" is also a very distrubing piece. And then there's "Gorgon," which HAS to be one of the wildest, loudest pieces of music ever composed. It's a crazy, rollercoaster ride of a work, a great test for anyone's audio system. The performances are all first-rate, and the music is profoundly important.
1 of 1 people found the following review helpful
Astonishing album of modern music. Rouse is on fire. Essential disc! Aug. 29 2014
By Joseph Kline PhD, MD - Published on
Verified Purchase
Baltimore-born Christopher Rouse was trained at Oberlin and Cornell. He studied with Karel Husa and George Crumb and held faculty positions at U. of Michigan and Eastman School of Music before moving to Juilliard in 1997. Juilliard's gain. Everyone else's loss. His most prominent composition student is Michael Torke. Stylistically, Rouse is considered a neoromantic composer, but some are more musically obtuse. In the present RCA album, Marin Alsop leads the Colorado Symphony Orchestra in Rouse's Trombone Concerto, Gorgon, and Iscariot. The works were recorded in 1995 using 20-bit technology and the sound is astonishing!

The album begins with the Trombone Concerto. Right from the start, I must tell you that I thought this was one I was going to have to listen to for purposes of the review, but surprise, surprise: I actually enjoyed it immensely. This is wonderful music, one of the most fantastic modern works I have heard. The 1st movement begins rather darkly and sparsely. My first impression was "Oh, God, is this even music?" The trombone makes slow, low-pitched, almost groaning sounds similar to... well, you can just guess. But then it became increasingly musical in a more conventional sense, and I realized that I was actually beginning to enjoy it. A lot. It... became... beautiful! The 2nd movement is stunning, sort of perpetual motion. It is often loud. The rhythms are fascinating. The trombonist must have required resuscitation by the end of the movement! Really, really enjoyable. I'll be listening again and again to this. I couldn't help but think of Close Encounters of the 3rd Kind. Remember, the trombone note coming from the saucer after it landed on Devil's Mountain? Well, multiply that times a hundred, and add percussion, additional brass, and strings. All I can say is WOW! What impactful music. You have to hear it to believe it. Amazing! The 3rd movement returns to a slow tempo with woodwinds playing soulfully. But the music crescendos and gathers increasing intensity before coming to a quiet and sublime section that is exceptionally peaceful. Soft timpani lead into a gentle conclusion.

Gorgon is a three-movement piece that begins in raucous fashion with wonderful timpani passages. I love that instrument, and in the 1st movement it plays an important role. Rouse described Gorgon as "... a work of exorcistic rage, an attempt in music to heal by facing that which seems unfaceable." I think exorcistic rage is an apt phrase for this music. Chords are repeated 10 or 15 times in rapid succession. It's riotous and stunning - almost shocking. The 3rd movement, Medussa, is so in-your-face that it is difficult to describe. The booklet says that Gorgon is an attempt to take Rouse's attraction towards fast, loud and wild music to its terrifying ultimate. That about says it all. I will play this often.

Iscariot is the antithesis of Gorgon, with its slow, mournful yet sublime nature. It is a pleasure, and a needed one after listening to Gorgon's terror. But don't think that Rouse has robbed you of terror completely. There are many such moments, but their intensity, though impressive, don't equal those of Gorgon. I found Iscariot less compelling than Gorgon but still

Rouse's music is astonishing for its relentlessly energized drive and dynamics. No dozing off here. I found myself eagerly anticipating the next new flurry of rhythms and percussion effects. The sound is splendid with a full soundstage and center fill. The Colorado Symphony should be recognized as on the brink of world class. They play this difficult music with aplomb. Marin Alsop, whose other recordings have not impressed me that much, needs not to prove herself further. She is a major talent. This is one of the most exciting and thoroughly enjoyable albums of modern music I have ever listened to. ABSOLUTElY HIGHEST RECOMMENDATION!!!!!!!!!!