Many other personal invitations and announcements have been sent out.
Here is another example.


-Monart

-------

A new CD, entitled "Concerto of Deliverance" by John Mills-Cockell, was
released on July 4, 2004. The information about the album states that
it's a work inspired by Ayn Rand's words in Atlas Shrugged describing
such music. Readers of Atlas Shrugged would know that "The Concerto of
Deliverance" is the title of Chapter VI, Part III, and is what Richard
Halley's Fifth Concerto is called by his friends.

A website has been created to offer samples of this extended length (79
minutes) of work in 7 movements for instruments and voices
(electroacoustic instruments, violin, clarinet, children's choir, mezzo
soprano). Also on the website are profiles of the composer and
contributors, a pre-production interview with the composer, a
post-production Composer's Notes, as well as reviews by (objectivist)
musicians and philosophers.

The work was commissioned and produced by an objectivist known around
various venues -- Monart Pon, whose announcements and invitations say
that the work took two full years of perseverance and an intense desire
to have a "Concerto of Deliverance" created and be heard. He has granted
permission to quote here excerpts from a review posted on the website.

-------


Concerto of Deliverance, by John Mills-Cockell

...satisfying resolution...an integrated work

...the music moves freely through American spiritual, American Indian,
American western, Asian, Spanish, jazz, rock, symphonic, march,
Gregorian chant, modern Persian, traditional Chinese, etc.

I also enjoy the blurring of the line between what is typically thought
of as orchestral/classical/grownup music, and group/rock/kid music. My
guess is that your most enthusiastic customers among objectivists will
be the under 30 neo objectivist crowd, who are used to and eager for new
sounds, different sounds, pretty themes that aren't pretty the way their
parents like them...

The rhythm changes constantly. Even during the segments where it
remains constant, Mills-Cockell varies the way the rhythm is played, or
changes the synthesizer registration used to play it. The key changes
constantly...

My own musical taste inclines toward the extremely complex, which is, I
think, what explains my ability to enjoy this brand new piece despite my
usual preferences for ancient music...

The piece is extremely linear, which is another feature I find
endearing. Chords are arpeggiated throughout, so the structure and logic
is perhaps less obvious to some people if their preference is for music
that is chiefly made up a vertical chords. As might be expected given
what I've said so far, I have a strong personal preference for perpetual
motion and steady rhythms without percussion. I'm pleasantly surprised
by this piece's ability to seduce me despite the fact that it is more
like modern music and less like German baroque in this regard. The
effect of constant movement is maintained partly by the tensions created
by the elements I mentioned earlier, as well as the linear structure. I
think it speaks to the universality of the music that Mills-Cockell is
able to capture the attention of someone so happily entrenched in the
early music tradition...

Sometimes Mills-Cockell weaves back and forth between
acknowledgment/experience of pain and joy; sometimes the pain hovers in
the background, unrecognized or forgotten but still a part of history,
while fun and happiness take over. Evil lurks, that's just a fact: But
it never wins. Nicely done...

-------

The website for Concerto of Deliverance is at
http://www.starshipaurora.com/concertoofdeliverance.html