Harmonielehre (1985). John Adams /recent comments/

• Likewise, I've never heard a more precisely balanced, gorgeous version of the second movement than the one presented here. The sound world here runs from Debussy's impressionism toward Holst's outer Planets, with agonizing disturbances inspired by the Adagio of Mahler's Symphony No. 10.  Night After Night
• Adams' East/West fusion seems more brilliant than ever. He's not forgetting his roots, having named his 1985 Harmonielehre after Arnold Schoenberg's book on harmony (written in Vienna), but has such a California dreaminess as to be an ambassador for the minimalist movement, whose hypnotic, pulsing repetition arrived here within time-honored beginning-middle-and-end architecture. Philadelphia Inquirer
• Pero, su obra más representativa en el minimalismo es “Harmonielehre” (1.985), donde intenta seguir la música repetitiva basada en una armonía tradicional, utilizando la forma de una gran orquesta sinfónica. En El Aire
• The orchestra made all the wonderful big noises in John Adams's “Harmonielehre” on Saturday, but it was less successful at rhythms that must be sharp enough to cut. New York Times
• While not the most critically well received of Adams' works its [Road Movie's] overall feel has made it one of my favorites along side the highly exaulted Harmonielehre, Dharma at Big Sur, El Dorado and Short Ride in a Fast Machine. call me classical
• Last night I got to play John Adams’ Harmonielehre with the SLSO once again. Ahh. It was really a blast. I mean that almost literally. It rocks. My part includes mallets (all kinds) and my favorite moment, the bass drum blast at the end. Rubright.com
• If Bernstein once described Berlioz's Symphonie Fantastique in terms of an LSD trip, then this too took us into fantastical realms. While the outer movements delivered bold pillars of chords with percussionists rushing from instrument to instrument, the middle movement made connections with Takemitsu's world in its floating Debussian harmonies. New Zealand Herald