The Guardian
— Thu, 11/17/2016
by Kate Molleson

A port in the storm, this. Giuliano d’Angiolini is a Paris-based Italian composer and ethnomusicologist who makes music of whispered, consolatory indeterminacy. He is probably best known (if he is known at all) for a 2011 album called Simmetrie di Ritorno, but I would argue that this new release is more

sublime, or perhaps just more timely. It contains poised and attentive performances of the piano piece Finale, the string quartet (Suoni della Neve e del Gelo) and the five-flute Aria del Flauto Eolico, all of it the most discreet and enabling kind of chance music – like John Cage, d’Angiolini uses procedures

that play out differently every time – that isn’t didactic or abrupt and never resorts to shock tactics. Instead, it lays sounds bare and leaves generous opens spaces for a listener to feel her own responses, or not. This is music in the present tense, no guile or bile or shouting, no post-truths.