Rêverie is the second solo album from Mary Elizabeth Bowden, released on Summit Records in April 2019 and nominated for 3 Opus Klassik Awards. Rêverie is a collection of new arrangements by Rick DeJonge of popular classical works made for trumpet, strings, harp and harpsichord, including Debussy and Tailleferre’s Rêverie, Mozart’s Queen of the Night aria from the Magic Flute and Rondo alla Turca, Bach’s Badinerie and Erbarme dich, Mein Gott from St. Matthew Passion, and Debussy’s La fille aux cheveux de lin, Golliwog’s Cakewalk and Général Lavine. Also included are new compositions by James Stephenson, Catherine McMichael, Sarah Kirkland Snider and Rick DeJonge.
Rêverie is the second solo album from Mary Elizabeth Bowden, released on Summit Records in April 2019 and nominated for 3 Opus Klassik Awards. Rêverie is a collection of new arrangements by Rick DeJonge of popular classical works made for trumpet, strings, harp and harpsichord, including Debussy and Tailleferre’s Rêverie, Mozart’s Queen of the Night aria from the Magic Flute and Rondo alla Turca, Bach’s Badinerie and Erbarme dich, Mein Gott from St. Matthew Passion, and Debussy’s La fille aux cheveux de lin, Golliwog’s Cakewalk and Général Lavine. Also included are new compositions by James Stephenson, Catherine McMichael, Sarah Kirkland Snider and Rick DeJonge.
“She performs with authority throughout, whether executing notes acrobatically or murmuring softly, and her playing exemplifies poise and clarity… All things considered, it's safe to assume admirers of Bowden's Radiance will be as impressed by this latest collection.”
“With some amazing arrangements as well as some works by living composers, this CD offers an unusually attractive program, which is ravishingly played by the American trumpeter Mary Elizabeth Bowden…There are no limits to Bowden’s music-making. She is highly virtuosic, but also masters the most delicate and lyrical tones…her art of colours and the warmth of her tone are particularly striking. There is nothing shrill, nothing seems uncontrolled, and everything points to an absolutely sovereign mastery of the instrument.”
