One of the most grown-up review sites around

51,000 reviews
and more.. and still writing ...

Search MusicWeb Here



International mailing

  Founder: Len Mullenger             Editor in Chief: John Quinn               Contact Seen and Heard here  

Some items
to consider


Reger Violin Sonatas
Renate Eggebrecht violin

Brahms Symphony 3
Dvorak Symphony 8
9 cello sonatas
Piano Music

Clara Schumann
piano concerto

Asmik Grigorian

Breathtaking Performance
controversial staging
Review Westbrook
Review Hedley
Every lover of Salome should see this recording
Mullenger interpretation

Vraiment magnifique!

Quite splendid

Winning performances

Mahler Symphony 8
a magnificent disc

a huge talent

A wonderful disc

Weinberg Symphonies 2 & 21
A handsome tribute!

Roth’s finest Mahler yet

Mahler 9 Blomstedt
Distinguished performance


REVIEW Plain text for smartphones & printers

We are currently offering in excess of 51,000 reviews

Advertising on

Donate and keep us afloat


New Releases

Naxos Classical

Nimbus Podcast

Obtain 10% discount

Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels

Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

Support us financially by purchasing this from

Jorge GRUNDMAN (b.1961)
A Mortuis Resurgere (2013) [54:05]
Susana Cordón (soprano)
Brodsky Quartet
rec. June 2013, IES San Fernando, Madrid
Texts and translations included

Jorge Grundman studied music in Madrid but his career has fluctuated between music and his professional teaching as a Professor in the city. Here his interests focus on aspects of architectural acoustics and sound engineering, His background has informed A Mortuis Resurgere (The Resurrection of Christ) only insofar as he has been careful to consider the acoustics for the sacred buildings in which he intended the work to be performed and heard.
As a pop musician in his youth – vocalist and keyboard player in ETC, Fahrenheit 451 and later Trópico de Cáncer – he moved from more straight-down-the-line pop via New Age and thence TV and film. His music for classical forces is tonal, and I was interested to read that he has done much to promote the music of Gerald Finzi in Spain, as well as Piazzolla who presumably doesn’t need quite as much pushing. Grundman is a bridge-builder between pop and classical sensibilities and his ‘eclectic classical style’ — his own phrase — is put to use to this effect. He has worked with the Brodsky Quartet and soprano Susana Cordón before, in God’s Sketches (2011), though he worked with just the quartet as far back as 2009 in Surviving a Son’s Suicide.
This new work was composed in 2013 as a companion for Haydn’s Seven Last Words of Our Saviour on the Cross, an ambitious undertaking, though obviously there is a geographical link – Haydn wrote the work for a commission from Cádiz Cathedral. No continuation of the Haydn is implied; rather Grundman has composed a kind of oratorio for solo singer and string quartet with different types of vocal techniques better to convey the mystery of the Resurrection. In essence this means that the material is first presented and is then subject to repetition and mild variation. The text comes from the St John Gospel, chapters XIX and XX. The means by which Grundman conveys the texts are many and various; bel canto, ecclesiastical chant, vocalise, coloratura and others. His writing is intensely tonal, and expressive - I particularly like the string writing in Capitulo XX (track 6 – the vocalise) though there are times when I sense that he has listened closely to someone like Steve Reich - the final scene of Capitulo XIX seems to me to be reminiscent of Changing Trains.
His vocal lines go from vocalise to more operatic and indeed stentorian though he is also adept at kind-of accompanied recitatives, and he is acutely conscious of word setting. Some of his writing – track nine – evokes the baroque-procedure appropriation of Michael Nyman. At 54 minutes this needs to be listened to with a sympathetic ear. Those who do not fall under its spell will doubtless find the word ‘longueurs’ insufficiently forceful. The performers, obviously coached by the composer, sound suitably in tune with the idiom. The greater expressive burdens fall on Susana Cordón.
Jonathan Woolf