[T]he execution is fresh and clever….The cycle is a compositional tour-de-force that shows Gill’s versatility and attention to detail.
– The American Record Guide, March/April 2016
[Capriccio is] an eclectic curio cabinet worth close inspection.
– Grant Chu Covell, writing for La Folia, November 2015
The overall stylistic profile of Capriccio is intensely eclectic…Capriccio, however, is the sum of its parts, and although many of the movements are lovely in their own right, the greatest impact is registered globally…The imaginative and intellectually curious music lover will be amply rewarded for deeper listening.
– Broad Street Review, 22 September 2015
Here, in one fell swoop, is evidence of Jeremy Gill’s mastery of the form. Capriccio is one of the most remarkable opuses in chamber music this year. The cumulative impact of its individual pieces is quite breathtaking, some of which clearly occupy the bluest part of the flame of the art.
– Jazz da Gama, 23 August 2015
[A] compelling musical narrative much greater than the sum of the individual parts. Gill’s stylistic references range from retro-Baroque to plinkingly post-modern, and the performance by the Parker Quartet, who commissioned the piece, is stunningly accomplished. A work to return to often, for fresh insight and stimulation.
– Terry Blain, writing for Minnesota Public Radio, 17 August 2015
…a tour de force of brilliant miniature compositions…a wonderful showcase for the Parker Quartet… By the vivacity of each part and the experience of the ever-shifting whole one is captivated and endlessly stimulated. In the process Jeremy Gill conveys to us his own special sensibilities as a composer of almost unlimited breadth, a master stylist who knows virtually no boundaries in his poetic collocation of past, present and future into an hour of quartet fireworks and fantasia. Brilliant!
– Gapplegate Classical-Modern Music Review, 4 August 2015
[Capriccio is] a varied and kaleidoscopic collection of vivid miniatures…an ebullient cataloging of the various textural and rhetorical forms that writing for string quartet can take. The work comprises 27 short movements, some no more than 30 seconds long, yet the effect is neither aphoristic nor brusque. On the contrary, there’s a generosity of spirit at work here that is only reaffirmed by the [Parker] quartet’s splendid playing.
– San Francisco Chronicle, 15 July 2015
A movement in which the strings wandered around in high silvery harmonics followed one in which the three high strings plucked a guitarlike accompaniment to the cello’s tenor song. In another, a broadly bowed legato morphed into the pins and needles of a sharply detached spiccato. A movement titled “Open Strings,” which gave off a whiff of orchestral tuning, seemed as at home in here as the movements where the quartet slithered around in microtones. Scattered among the movements, the four interludes with their echoes of the Renaissance and the baroque paid homage to the music’s forebears. The total effect of these distilled slices of musical stuff was intriguing. The Parker ensemble seemed to revel in its challenges, and the hour flew by.
– The Washington Post, 2 April 2014
…engaging and finely crafted…Gill focused on many extended techniques, including wood-of-the-bow effects, complex harmonics (all so perfectly tuned in this performance), near-bridge or near-fingerboard tone, multiple stops, left-hand pizzicati, “Bartók” pizzicati, and so on. The string instruments, however, were really made to produce a glowing legato sound, the one that composers now tend to avoid, and the piece shone most when in that mode, usually in extensive quotations from or adaptations of earlier music. In all of it, the Parker Quartet played with impeccable technique and dedication.
– Ionarts, 2 April 2014
Capriccio was premiered in New Brighton and Minneapolis, MN.
2. Misterium tremendum (sonata da chiesa)
3. Up, down
4. La chitarra
5. Tip, balance, frog; wood
6. Heterophonic/homophonic interlude
7. Colors: normal, fingerboard, bridge
9. Two at once
11. Up, up…, down, down…
13. Monophonic interlude
14. Normal, mute, mute
15. Across the strings
16. Artificial harmonics
17. Pluck, snap
18. Stopped strings
20. Sonata da camera (J. de Berchem, B. Tromboncino)
21. The left hand
22. Open strings
23. On the string → off the string
24. Polyphonic interlude
25. Multiple strings, plucked