Dillon, J
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You find yourself marvelling at what Shibe can do with two hands and six strings in the space of one bar - the micro-achievement of his articulation, colouring and mastering of that fragile... —
Awards:
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Gramophone Magazine, May 2026, Editor's Choice
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The NMC Songbook
RecommendedSopranos - Claire Booth, Ailish Tynan, Elizabeth Atherton
Mezzo-sopranos - Susan Bickley, Loré Lixenberg, Jean Rigby
Countertenors - James Bowman, Michael Chance, Andrew Watts
Tenors - Andrew Kennedy, Daniel Norman, Benjamin Hulett
Baritones - Stefan Loges, Roderick Williams,...
…anyone listening to these discs will find many things to savour… It is, inevitably an eclectic mix, but, as in any well-planned song recital, the progressions and juxtapositions are continually... —
Awards:
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Presto Recording of the Week, 20th April 2009
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Gramophone Awards, 2009, Winner - Contemporary
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Dillon, who has latterly worked at IRCAM, doesn’t over-egg the electronics, knowing that a light touch is more effective than pell-mell indulgence. —
Awards:
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Gramophone Awards, 2023 Finalists, Finalist - Contemporary
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Gramophone Magazine, Critics' Choice 2023
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The book teems with subtle cross-references, like the sudden reappearance in the last volume of the
amamzingly Debussian gesture that launched the whole cycle. There are other echoes, too, from... —Awards:
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Gramophone Magazine, September 2004, Editor's Choice
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EOS
Patti Cudd (cajon), Patti Cudd (percussion), Patti Cudd (vibraphone), Patti Cudd (hi hat), Patti Cudd (snare drum)
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HCMF 2012 Sampler: Grooving Through Old Tombs
Michael Finnissy (piano), Mary Wiegold (soprano), Andrew Sparling (clarinet), Alan Thomas (guitar), Michael Chance (counter-tenor), George Mosley (baritone), Mieko Kanno (violin), Sam Hayden (violin), Bridget Carey (viola), Kate Romano (clarinet), Robin Thompson (sho), Melissa Holding (koto), Jinny...
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James Dillon - The Soadie Waste
Irvine Arditti (violin), Noriko Kawai (piano) & Hiroaki Takenouchi (piano)
Arditti Quartet
The 27-year period covered by this group of compositions, taking James Dillon from his mid-twenties to his early fifties, could hardly fail to outline substantial changes. Dillug-Kefitsah (1976)... —
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[This release lends] a softness and amenability by the sheer guitar sonority, of the old, intimidating “New Complexity” movement…Brian Ferneyhough’s seven-part Kurze Schatten II seems to entail... —
