#christopher rouse

Movie #19 of 2025: Paycheck

Hobbs & Shaw (2019)

Directed by David Leitch

In Memoriam Christopher Rouse (1949-2019)

In Memoriam Christopher Rouse (1949-2019)

I consider Dr. Christopher Rouse to be one of the great symphonists of our time, and I’ve been following his exquisitely dark and expressive compositions since I discovered his earlier orchestral works GORGON and The Infernal Machine. I recall him commenting in program notes that so much contemporary music had lost the ability to work in a true “allegro”…

In Memoriam Christopher Rouse (1949-2019)

I consider Dr. Christopher Rouse to be one of the great symphonists of our time, and I’ve been following his exquisitely dark and expressive compositions since I discovered his earlier orchestral works GORGON and The Infernal Machine. I recall him commenting in program notes that so much contemporary music had lost the ability to work in a true “allegro” tempo, so he deftly remedied that in several of his pieces. He’s also a master of “adagio” tempi and everything in between. It was always exciting for me when his new works were performed and released—I knew that something of value awaited my listening.

His symphonies demonstrate a profound awareness of this art form, both in responding to great works of the past and crafting powerful new sayings in this sublime genre. He completed his Symphony No. 6, which will be premiered October 18th by the Cincinnati Symphony Orchestra conducted by Louis Langrée, and it is modeled after Mahler’s valedictory 9th. Prior to his passing, Rouse said of this new work: “There’s a tragic quality to this piece, and I’m sorry to frustrate people by not saying what it is or why it is.” I suspect we’ve now learned the answer to that mysterious statement.

Rouse also wrote a number of concerti which find intriguing ways to highlight a solo instrumentalist within an orchestral fabric. I was fortunate to attend the premiere of his Trombone Concerto in Manhattan, dedicated to the memory of Leonard Bernstein, which later was awarded a Pulitzer Prize.

His monumental Requiem inspired by the events of 9/11 may be his greatest piece—lasting close to 90 minutes. Unfortunately, it has yet to be released as a commercial recording, possibly his passing might prompt the remedying of this oversight.

I trust that anyone who enjoys intelligently crafted, challenging orchestral music that ranges from the terrifying to the elegiac might spend some time exploring Rouse’s music. I’m confident his works will stand with those of other great composers as the years pass—his art will surely move appreciative listeners far into the future.

Hail Christopher Rouse!

—Magus Peter H. Gilmore

Vox Satanae – Episode 452 – Week of September 30, 2019: A Tribute to Christopher Rouse (1949-2019)

Vox Satanae – Episode 452 – 162 Minutes – Week of September 30, 2019

A Tribute to Christopher Rouse (1949-2019)

This week we hear works by Christopher Rouse, Stephen Albert, Sebastian Currier, Karl Amadeus Hartmann, and Gustav Mahler.

Personal thoughts on Dr. Rouse’s music by Magus Gilmore

Stream Vox Satanae Episode 452.

Download Vox Satanae Episode 452.

Christopher Rouse (1949-2019)

Ensemble Connect is the resident educational ensemble at Carnegie Hall. I mostly encounter them in concerts, either in Zankel or, as tonight, in the Resnick Educational Wing's music hall. As part of the impending semiquincentennial, Carnegie is doing a set of concerts themed as "United in Sound: America at 250." But really, I'm just here because it's a bunch of new or relatively new American music! Unlike previous Education Wing concerts, we have a smaller audience tonight, but that's presumably because of the cold and the massive snowstorm we're still digging out from -- 12 inches in Brooklyn!)

First up is one of the two living composers--Jessie Montgomery with "Strum". This time, even though there is a violin part, she's not playing here (and isn't here at all, though the snow & cold may have something to do with that). What to say except that it's another one of her typical joyous consonant pieces (for string quartet in this case) and it still feels enjoyable to listen to her in this vein.

Next was the only composer I don't know -- Emma Lou Diemer and her 'Quartet for Trumpet, Horn, Trombone and Piano'. Harmonically this is an uneasy piece that seems to never settle itself down. Though eventually with the trumpet all I can think of is Copland's Quiet Night.

Jennifer Higdon's 'Book of Brass' was a quintet, two a horn, two trumpets and two trombones (one bass). There were moments of vitality for me, but also moments that were less so. It was fine.

The finale was by far the most exciting as well as the most complicated -- Christopher Rouse's Rotae Passionis. With seven players, many doubling instruments, including several who occasionally left their regular instruments to play percussion, this piece required a conductor and Marin Alsop was there. (She's some kind of fellow this year.) This was Rouse in his apocalyptic mode -- it was written in 1982 just a few years before the flute concerto, and you can really hear that it's the same composer. The same crashing dissonant chords and even the flute piercing through the thickness of the cacophony. It doesn't have the same heart-wrenching tune as the Flute Concerto, which I still think may be his masterpiece, or at least may end up being a piece that flautists love so much it has significant niche populatiry (much as Arutunian's Trumpet Concerto). I loved it and was blown away - this was a fantastic finale.

Ensemble Connect Up Close, Saturday 31 January 2026, Weill Music Room, Resnick Educational Wing, Carnegie Hall