Notes and Editorial Reviews
Under Mahan Esfahani's hands - and occasionally fists - the harpsichord is transmogrified into an elemental force, by turns supported or menaced by an astonishing arsenal of electronics. Concerned listeners please note: no harpsichords were harmed in the making of this album.
Esfahani here elevates composers who deviate from convention. In acoustic works by Toru Takemitsu, Henry Cowell, and Gavin Bryars, he demonstrates the deft touch and technical bravura familiar from his celebrated Baroque interpretations. But, in electroacoustic pieces by Kaija Saariaho, Anahita Abbasi, and Luc Ferrari, Esfahani’s exuberant lines, rapier-sharp thrusts, and bombastic explosions abandon courtly decorum, revealing an instrument strange and new.
– New Yorker