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Twilight Remembered
McCormick Duo

Cover Design: Katherine Gressels

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Catalog Number: CPS-8721
Audio Format: CD
Playing Time: 68:59
Release Date: 2003

Track Listing & Audio Samples
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    Paul Bissell
  1. Archipelago (7:56)
    Elliot Carter
  2. Esprit Rude II/Esprit Doux II (4:56)
    Andre Jolivet
  3. Pipeaubec (4:16)
    Ralph Shapey
  4. Movement of Varied Moments (7:58)
    David Heuser
  5. Still Life With Fruit (5:13)
    Henri Lazarof
  6. Asymptotes (5:34)
    Hilton Jones
    Silver Set
  7. I Andante (2:25)
  8. II Moderato (1:25)
  9. III Allegro (2:20)
    Wesley Fuller
  10. Four Phases for Three (9:34)
    Howard Buss
  11. Pipe Dream (6:25)
    Kent Kennan
12. Night Soliloquy (4:12)
    Daniel Adams
  13. Twilight Remembered (7:11)



American Record Guide - July/August 2004 - Macdonald

"The McCormick Duo offers a diverse program. One of the strongest works is a piece I also recorded with my flute and percussion duo, Movement of Varied Moments by Ralph Shapey. This interpretation is similar to ours (March/April 2004), but they handle tempos differently in the faster movements. The slightly slower pace presented here allows for a beautiful exchange of musical ideas and a nice counterpoint between the flute and vibraphone. Robert McCormick also explores the warmth of more vibraphone pedal. I also like Kent Kennan's Night Sililoquy, a popular compositiong that is played often. Kim McCormick's flute playing is always supple and expressive, and her partner never overshadows the melodic line."

Fanfare - May/June 2004 - Paul Ingram

"The McCormicks are both professors in Florida, and forma a unique virtuoso partnership. Their recital of short compositions for flute and varied percussion stirs memories of the old Gazzeloni LPs, or some of the 1970s Nonesuch releases, especially in those pieces composed by unrepentant modernists. That gallery of titles looks like self-parody, but I enjoyed this charming CD of modest miniatures.

Carter contributes five action-packed minutes, with Webernian melodies passed note-by-note, a tune in the middle, and a continuing debate between the flute, percussion, and a clarinet. They work their way towards a sense of rapport, at the very end, in this astute performance; but no clarinettist is named in Capstone's packaging. It's a happy taste of Carter, a slice of birthday cake for Boulez's seventieth. More solemnly, the electronics of Wesley Fuller's Four Phases recall Stockhausen's work from 50 years back, in nostalgic fashion; but this reassembly of nocturnal, undersea, avant-garde gestures has crept up and grown on me. Ralph Shapey's SchoenbergianMovement of Varied Movements promises passion but also ends up sounding dutiful and cerebral, despite the obvious belief of the players. Lazarof's Asymptotes, on the other hand, is academically organized, but it works, thanks to the sustained poetic exchange between flute and tuned percussion. This atonal landscape's higher-pitched regions are explored in the three movements of Hilton Jones's Silver Set, scored for piccolo and the metallic hitting instruments. In context, it's another piece of closely defined sonic territory annexed by these expert players; in isolation, it's not so great.

Interspersed with these sometimes attractive, argumentative thorn bushes are works founded on color, melody, and impressionism. Paul Bissell's Archipelago, the disc's overture, is maybe a kind of bridge between the two. Its upbeat moods give the astounding Robert McCormick plenty of exercise, but it's not a particularly distinctive piece. David Heuser's up-tempo Still Life with Fruit is more effective, with memorable, incantatory thematic fragments passing from flute to mallet instruments and back again, mediated by mysterious drums and cymbals. Finally the flute gets rhythmic too, as well as melodic, both aspects beautifully sustained by Kim McCormick. Jolivet's Pipeaubec and Kent Kennan's Night Soliloquy are for the most part flute melodies with accompaniment of an approachable, atmospheric kind, while Howard Buss's Pipe Dream gives the flautist her only solo item here. The Debussyan heritage is heard in just this piece: a warm, leisurely exploration of hot, lazy sensations.

Daniel Adams's sultry but discreet title-track closes the recital. Your loudspeakers are unlikely to forget the transients in Twilight Remembered. The recording overall is quite close and dry—with some background buzzing in the Buss and occasionally elsewhere. But the impossible balance challenges are well met. By the end you come to take for granted the unanimity and subtle range of responses between the two players, who can evoke anything from a lonely shepherd to an orchestra in full-cry and beyond. The McCormick Duo seems to have carved out a unique corner for intelligent modern music, and it's good to spend and hour there, in such varied, sophisticated company."


NACWPI Journal - Winter, 2003-2004 - by Dr. John J. Papastefan

"The CD includes thirteen works for flute and various percussion combinations, expertly performed by the McCormick Duo. The blend, balance and sonorities are a delight to hear. Archipelago by Paul Bissell is in five sections for flute and multiple percussion, with prominent passages for the marimba. Esprit Rude II/Esprit Doux II by Elliot Carter for flute, clarinet and marimba. Pipeaubec by Andre Jolivet is designated for performance on recorder or transverse flute with percussion of player's choice. Movement of Varied Moments by Ralph Shapey, for flute and vibraphone. Still Life with Fruit by David Heuser, for flute and multiple percussion. Asymptotes by Henri Lazarof is a mathematical term, literally meaning "not falling together" and is characteristic of the independent line given to each voice for flute and vibraphone. Silver Set is in three movements (andante, moderato, and allegro), for treble instruments, piccolo and metal percussion requiring four players, by Hilton Jones. Four Phases for Three by Wesley Fuller, in addition to flute and percussion, employs a 26 pitch microtonal scale, the Csound synthesis of software, and digital and analog techniques exclusively. Pipe Dream by Howard Buss is meant to convey to the listener the sounds experienced on a warm summer afternoon. The work was written especially for Kim McCormick. Night Soliloquy by Kent Kennan for flute and percussion, including vibraphone and tam-tam. Twilight Remembered by Daniel Adams is scored for flute and multiple percussion."


Gramophone - May 2004 - by Donald Rosenberg

"The combination of flute and percussion is oddly satisfying, in part because these instruments inhabit such different worlds. While each work here possesses the haunting characteristics that the combination inevitably exudes, their composers take varied tonal and formal routes to arrive at their compelling destinations.

One of the most alluring items is the title piece, Daniel Adams' Twilight Remembered. Here, the instruments explore numerous sonic regions as they gradually move downward into soft, hazy regions. The flute's low register also dominates Andrew Jolivet's Pipeaubec, which is enhanced mysteriously by ritualistic drum beats and ratchet twists.

Ralph Shapey deftly mixes flute and vibraphone in Movement of Varied Moments. The activity is varied on a different scale in David Heuser's Still Life with Fruit, with a panoply of percussion and flute engaging in fleet conversation. All the other works have ample colouristic personality, among them Elliott Carter's spunky Esprit Rude II/Esprit Doux II, in which the McCormicks are joined by clarinetist David Irwin. Two of the pieces sound like classics, Howard Buss' Pipe Dream (an enchanting evocation of a summer's day) and Kent Kennan's Night Soliloquy (performed in a version for flute and vibraphone).

The McCormicks are keenly alert to balances and hues, blending and contrasting their instruments to vivid degree. Kim McCormick is a flautist of bountiful tonal imagination, while Robert McCormick's command of percussion shadings invests everything with textural sensitivity."