NYT review of Ashley Bathgate and Lisa Moore’s TwoSense



Stephen Feigenbaum — at 21, the youngest composer here — inventively avoided one trap of writing for a stringed instrument and the piano: Instead of allowing the cello to sound like the principal instrument, with the piano as its accompaniment, he built his “Suspended Animation” (2010) on the tension between a lyrical cello line and aggressive piano writing. Kate Moore (no relation) explored a similar disparity in “Velvet” (2010), its title referring to one quality of the cello’s tone, with the piano alternately matching and countering it.

However TwoSense proceeds — whether purely as a duo, or as an open-ended chamber project — its adventures should be worth following.

Read the full review here.