The music on this recital was specifically written or arranged for duo violinists Angela and Jennifer Chun. It highlights the personal and professional connections between Philip Glass and Nico Muhly, a longtime colleague and admirer of Glass's work. Glass's miniaturist works, Mad Rush and In the Summer House, create a maximum effect when paired with Muhly's minimalist Four Studies and Honest Music.
High off the success of her first book and planning to marry ZIAD, her sensible, stable and studious fiance, MAY BRENNAN has it all. At least that's what she'd like people to believe. Reunited with her family in Amman, she's thrust back into the chaos of her former existence. Her headstrong mother NADINE, a born-again Christian disapproves of her Muslim fiance so thoroughly she plans to boycott the wedding. Her younger sisters DALIA and YASMINE behave like her children. And her estranged father EDWARD is suddenly and suspiciously interested in making amends. As her wedding day looms, May finds herself more and more confronted by the trauma of her parents divorce. And soon, her once carefully structured life spins hopelessly out of control.
Angel in the Dark is a lovely recording featuring the graceful vocals and finely crafted songs that everyone expects from Laura Nyro. These sessions were completed in the summer of 1995 and represent the last music Nyro recorded. The title cut and "Sweet Dream Fade" mine the same soul terrain as her late '60s recordings, featuring horns and underlined by heavy guitar riffs. These upbeat pieces perfectly integrate voice, arrangements, and lyrics to create an organic whole, and are two of the best cuts on the album. Slower, piano-based songs like "Triple Goddess Twilight," "He Was Too Good to Me," and "Serious Playground" are mixed in-between these songs. These pieces are quieter and introspective, with Nyro's voice more intimate. It is almost as though she was sitting at the piano, late at night, and singing to herself. There are also several covers including "Will You Still Love Me Tomorrow" and "Let It Be Me." The first of these is over five minutes and has been slowed down so much that it drags. In fact, she slows down all of the covers as if to convert them into heartfelt ballads.