Donnacha Dennehy: Limina album review – joyouslyunfettered music is a thrill in motion
Dennehy’s Limina, based on areas of the body, is firmly grounded in the harmonic series, and sparklingly executed here, while Stephen Waarts gives a bravura performance of the Violin Concerto
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Erica Jeal28 Aug 2026, 06:30 amUpdated 9h ago2 min readMusicMusic
Music — Erica Jeal
Donnacha Dennehy: Limina album review – joyously unfettered music is a thrill in motion
These two concertos, beautifully paired, again find Donnacha Dennehy writing music that is both firmly grounded – both rhythmically and in his fascination with the harmonic series – and, to the ear at least, joyously unfettered. Limina was written in 2023 for the pianist Eliza McCarthy , who is a powerhouse soloist here with the National Symphony Orchestra Ireland and conductor Ryan McAdams . It’s a serious piece born of a slightly playful idea. Its three movements are each named for a part of the body, staking out one area before moving to the threshold, or limina, of the next. Head starts with synapses firing high up the keyboard in sparks and glitter; it travels downwards, frenetic energy dissipating, towards Chest, which evokes breathing – not with regular rhythms but with gentle palindromic phrases that swell in and out and sigh back towards the same bass pitch. Nervous System begins deep in the gut, with coarser sounds – low piano vamping, and slapped bowing from the strings – but eventually escapes its tether and disperses around the keyboard.
The Violin Concerto, written in 2020, is just as propulsive, and the outer movements especially are a workout for Stephen Waarts , who gives a bravura performance. In the middle movement his violin soars, pushing off from the orchestral support to trace slow, weightless somersaults in the air. The finale has a thrilling sense of motion creating its own gravity: as with so much of Dennehy’s writing, it’s as if the music is held together by centrifugal force.
The Violin Concerto, written in 2020, is just as propulsive, and the outer movements especially are a workout for Stephen Waarts , who gives a bravura performance. In the middle movement his violin soars, pushing off from the orchestral support to trace slow, weightless somersaults in the air. The finale has a thrilling sense of motion creating its own gravity: as with so much of Dennehy’s writing, it’s as if the music is held together by centrifugal force.
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Source: theguardian.com · Erica Jeal. Published 28 Aug 2026, 06:30 am.
