More reviews

Reviewed in  Seen and Heard International Concert Review [by Bruce Hodges] [3/26/09] : “Hoffman’s use of instruments…piques the brain with unexpected combinations of timbre and rhythmic pulsations…”

Reviewed in Computer Music Journal, Spring 2007, 31/1 [by Michael Boyd]: “Ms. Hoffman’s distinctive use of spatialization adds an additional layer of interest to this dynamic work [Allamuchy].”

Reviewed in Badische Zeitung [2/19/08]: “…das Klavierstück “Night Slices” der New Yorker Komponistin Elizabeth Hoffman, das an die Art prägnanter japanischer Tuschzeichnungen erinnerte.”

 Reviewed in Gramophone [by Donald Rosenberg] [8/08]: “Hoffman’s Holonyms is replete with intriguing layers, colors, and rhythmic gestures.”

Reviewed | H M, Adverse Effect #11,4 |2000|10|24|: “There’s a very high standard here, representing some of the better constructors around (Tremblay, Hoffman and Lillios in particular are fabulous).”

Reviewed in ARRAY, Spring 1999: “Vim,” by Elizabeth Hoffman, was…formed with a newer gestural vocabulary of granular techniques, giving the piece both familiarity and freshness. The clear, accumulative structure led ever upward in grand ascent…

Reviewed Seattle Weekly, June 11, 1997: Magnificent.  Attractive and absorbing, lyrical and capricious,…a carnival of special effects deployed so idiomatically and gratefully for the ‘cello…”.

Computer Music Journal [Spring 2007, 31/1]: Reviewed by Michael Boyd “The works of Elizabeth Hoffman and Thanassis Rikasis represent more recent compositional practice in electroacoustic music. Ms. Hoffman’s “Allamuchy” (2002) begins with sweeping, seeming granular sounds that appear in counterpoint with the more pitched sustained tones. The composer writes:

[u]sing a few natural sounds, comb filters, and other techniques, “Allamuchy” explores moving through, and being surrounded by, various densities of substance. broad motions and energies coexist with a counterpoint of purely musical elements. The latter suggests internal perspectives, which are part of a non-temporal but narrative- like set of impressions. These ultimately dissipate, allowing a return to ordinary time.

This concept of changing density interjects continual variety into the work, a task furthered through Ms. Hoffman’s approach to spatialization, which is characterized by broad use of panning effects that simulate surround-sound experience. Her distinctive use of spatialization adds an additional layer of interest and depth to this dynamic work.

12/2008 www.mvdaily.com Reviewed by Malcolm Tattersall                   ‘Holonyms’ is a made up word which, according to the composer, “invites one into the experience of making sense of a word never heard before…which is analogous in a way to our experience of constructing meanings from music.” As a piece, it is all about percussion textures with sustained dissonances in the background. It is mostly rather gentle and quite attractive…

Vol. 32, Issue 4, Computer Music Journal, Reviews Seventeenth Florida Electroacoustic Music Festival, 10-12 April 2008. “…and Elizabeth Hoffman’s almost sculptural exploration of metallic textures..”

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