At the Edge of Time (1982)

Abstract

The composer’s beautifully bold handwriting instantly encourages the performer. The refinement and delicacy characteristic of his music is at once apparent. Such meticulous details of nuance and accent and flexible and subtle rhythms demand dedication from the singer, who will be amply rewarded. Bar-lines are omitted in the third song and again at the very end of the cycle, but conventional notation is otherwise used. The musical idiom is atonal, but constant repetition of intervals and pitch cells are a good means of orientation for singers worried by intonation problems. The dramatic scope is very wide indeed. This is a superb vehicle for a tenor of high musicianship and powerful presence.