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Russian Futurism Volumes 1-5 [Box Set]

2011-11-29T21:16:00.009-06:00

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Moscow Soloists, & Russian Philharmonic Orchestra, Konstatin Krimets (conductor)

5CD-FLAC(image +cue+scans)1.25 GB

"Mosolov's masterly, mechanistic String Quartet No. 1 with its long first movement and three tiny others should be required listening for anyone interested in modernism; it represents Russian Futurism much as sunlight represents the sun itself ... This is probably the best disc Arte Nova has ever produced of twentieth century Russian music." -- All Music Guide [ANO 487222, Russian Futurism Vol. V]

Track Listing

DISC 1 for Russian Futurism Volumes 1-5 [Box Set] (CD)
Album By Konstantin Krimetz (Conductor)

1 Sonata for piano No. 4, Op. 11
2 Turkmenian Nights: 1. Andante con moto
3 Turkmenian Nights: 2. Lento
4 Turkmenian Nights: 3. Allegro
5 Sonata for piano No. 5 in D minor, Op. 12: 1. Allegro affanato
6 Sonata for piano No. 5 in D minor, Op. 12: 2. Elegia
7 Sonata for piano No. 5 in D minor, Op. 12: 3. Scherzo marciale
8 Sonata for piano No. 5 in D minor, Op. 12: 4. Adagio languente e patetico

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DISC 2 for Russian Futurism Volumes 1-5 [Box Set] (CD) Album By Konstantin Krimetz (Conductor)

1 Ouverture dramatique, for orchestra, Op. 7
2 At War (From the Diary of a Dead Soldier), 6 improvisations for orchestra, Op. 26: Introduction
3 At War (From the Diary of a Dead Soldier), 6 improvisations for orchestra, Op. 26: 1. In the Trenches
4 At War (From the Diary of a Dead Soldier), 6 improvisations for orchestra, Op. 26: 2. Attack
5 At War (From the Diary of a Dead Soldier), 6 improvisations for orchestra, Op. 26: 3. Silence
6 At War (From the Diary of a Dead Soldier), 6 improvisations for orchestra, Op. 26: 4. Funeral March
7 At War (From the Diary of a Dead Soldier), 6 improvisations for orchestra, Op. 26: 5. Battle
8 At War (From the Diary of a Dead Soldier), 6 improvisations for orchestra, Op. 26: 6. Ending
9 Horn Concerto in F minor, Op. 40: 1.
10 Horn Concerto in F minor, Op. 40: 2.
11 Horn Concerto in F minor, Op. 40: 3.
12 Trumpet Concerto, Op. 41

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DISC 3 for Russian Futurism Volumes 1-5 [Box Set] (CD)
Album By Konstantin Krimetz (Conductor)

1 Sonata-Fantasy for cello & piano: 1. Andante sostenuto
2 Sonata-Fantasy for cello & piano: 2. Allegro drammatico
3 Sonata-Fantasy for cello & piano: 3. Andante molto largamente
4 Sonata-Fantasy for cello & piano: 4. Allegro deciso
5 Sonata-Poem for cello & piano
6 Dramatic Poem for cello & piano
7 Characteristic Melodies (3) to the Stone Guest by Pushkin, for cello & piano, Op. 51: 1. Don Juan (Serenade). Andantino
8 Characteristic Melodies (3) to the Stone Guest by Pushkin, for cello & piano, Op. 51: 2. Donna Anna. Largamente
9 Characteristic Melodies (3) to the Stone Guest by Pushkin, for cello & piano, Op. 51: 3. Laura. Allegro moderato
10 Sonata for cello and piano, Op. 7: 1. Moderato
11 Sonata for cello and piano, Op. 7: 2. Adagio sostenuto
12 Sonata for cello and piano, Op. 7: 3. Allegro vivace

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DISC 4 for Russian Futurism Volumes 1-5 [Box Set] (CD)
Album By Konstantin Krimetz (Conductor)

1 D'apr?s Shelley, symphonic fragment in D major, Op. 4
2 Requiem for two violins, viola, cello, and piano, Op. 11
3 Trio for piano, violin & cello, Op. 63 ('Dedicated to the memory of our lost children')
4 Songs of a Knight Errant for 2 violins, viola, cello & harp, Op. 28
5 Ad?geya, sextet for violin, viola, cello, clarinet, horn & piano, Op. 48
6 The Jewish Orchestra at the Ball at Nothingtown, suite from the incidental music for orchestra, Op. 41: Quadrille
7 The Jewish Orchestra at the Ball at Nothingtown, suite from the incidental music for orchestra, Op. 41: Polka
8 The Jewish Orchestra at the Ball at Nothingtown, suite from the incidental music for orchestra, Op. 41: Romance
9 The Jewish Orchestra at the Ball at Nothingtown, suite from the incidental music for orchestra, Op. 41: Valse
10 The Jewish Orchestra at the Ball at Nothingtown, suite from the incidental music for orchestra, Op. 41: Gavotte
11 The Jewish Orchestra at the Ball at Nothingtown, suite from the incidental music for orchestra, Op. 41: Petits pieds
12 The Jewish Orchestra at the Ball at Nothingtown, suite from the incidental music for orchestra, Op. 41: Galop

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DISC 5 for Russian Futurism Volumes 1-5 [Box Set] (CD)
Album By Konstantin Krimetz (Conductor)

1 String Quartet No. 1, Op. 24: 1. Andante agitato
2 String Quartet No. 1, Op. 24: 2. Adagio
3 String Quartet No. 1, Op. 24: 3. Scherzo
4 String Quartet No. 1, Op. 24: 4. Allegro molto risoluto
5 String Quartet No. 1: Allegretto grazioso
6 String Quartet No. 3: Moderato
7 String Quartet No. 3: 1. Allegro moderato
8 String Quartet No. 3: 2. Allegro
9 String Quartet No. 3: 3. Andante
10 String Quartet No. 3: 4. Adagio

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Ernst Krenek - Kammermusik

2011-11-18T22:37:00.004-06:00

A study of Viennese-born composer Ernst Krenek's prodigious output is rather like a study of twentieth century music in microcosm. Krenek moved with ease through the various aesthetic and stylistic changes that marked that turbulent century, taking what he considered the best features of each and fusing them into a new language all his own. Born in August of 1900, Krenek began musical training at the age of 6, and later studied privately with Franz Schreker in Vienna before enrolling for formal training with the same at the Berlin Conservatory in 1920. Krenek's music of the early 1920s (including the Symphony No. 1 from 1921 and the first two string quartets) is chromatically charged and rather angst-ridden; however, a 1924 trip to France, during which he was exposed to the more utilitarian, entertaining aspects of Parisian music (and Stravinsky's neo-Classicism in particular) encouraged him to explore a more accessible style. In 1927 the opera Jonny spielt auf, which fuses jazz idioms to Krenek's own brand of tonality, made Krenek a household name; the work was such a popular success that it eventually received performances in over a hundred cities in eighteen different languages. From 1925 to 1927 Krenek lived in Kassel and Wiesbaden, serving as assistant manager of those city's operas. After returning to Vienna in 1928 Krenek began questioning his own musical aesthetic, and, upon meeting Alban Berg and Anton Webern, made a serious study of the Second Vienesse School's 12-tone techniques. By 1931, when he began composing the opera Karl V (in celebration of the unifying virtues of Catholicism, as opposed to the degeneration of Germanic society in the 1930s), Krenek was convinced of the merits of serial composition; the opera stands as his first thoroughly dodecaphonic work. Nazi officials were not oblivious to the political subtext of the opera, and the planned 1934 Vienna premiere of the work was canceled by the authorities. Krenek visited the United States in 1937, and when Hitler invaded Poland, Krenek was expelled from Austria and moved across the Atlantic permanently. Krenek divided the remainder of his life between active composition (he remained prolific until his death in 1991) and teaching duties (first at Vassar College in New York, and later at Hamline University in Minneapolis and as guest professor/lecturer at many other American institutions). Krenek was an American citizen from 1945 on. In the 1950s and 1960s Krenek began to explore electronic composition (e.g. Spiritus intelligentiae Sanctus for voices and electronic sounds in 1956), and also aleatoric (chance) music (e.g., the 1957 work Sestina). During the last decades of his life Krenek scrupulously avoided all compositional "trends" and "systems," choosing instead to rely on his own musical wits. In 1992, one year after his death, Krenek's remains were transferred to the city of Vienna, where in later years he had come to be honored as befits a musician of his stature.
Biography by Blair Johnston at Allmusic

Tracks
01. Trio Fantasie for violin, cello & piano, Op. 63 [0:11:49.00]
02. Klavierstücke (6), for piano, WoO 56 - Nr. 1: Préambule [0:00:56.58]
03. Nr. 2: Melancholie [0:01:58.46]
04. Nr. 3: Epigramm [0:00:46.12]
05. Nr. 4: Melodie [0:01:30.73]
06. Nr. 5: Arabeske [0:00:56.24]
07. Nr. 6: Linie [0:00:56.17]
08. Albumblatt, for violin & piano, WoO 54 [0:03:22.52]
09. Piano Sonatina, WoO 76 - 1. Allegro moderato [0:06:59.14]
10. 2. Andante sostenuto, affetuoso [0:05:14.93]
11. Vocalise für Singstimme und Klavier WoO 83 [0:02:54.26]
12. Phantasiestück for cello & piano, Op. 135 [0:10:05.30]
13. Piano Piece in 11 Parts, Op. 197 - I. [0:03:04.17]
14. II. [0:00:47.60]
15. III. [0:01:52.98]
16. IV. [0:00:11.18]
17. V. [0:00:22.76]
18. VI. [0:01:21.22]
19. VII. [0:00:20.66]
20. VIII. [0:01:07.52]
21. IX. [0:01:31.34]
22. X. [0:01:06.13]
23. XI. [0:02:21.89]

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Valentin Silvestrov - Symphony No. 2 etc. (2009)

2011-10-21T15:36:00.002-05:00

Valentin Silvestrov - Symphony No. 2 etc. (2009) EAC rip | FLAC + CUE + LOG | Self-made covers + composer's cover | 297 Mb Recordings from the composer's archive | Genre: Classical

Another CD from the Silvestrov's archive representing one more early avant-garde work: Symphony No. 2 (1965). Cantata (1973) also belongs to this period in some way.
Tracklist:
1. Symphony No. 2 (1965) for flute, timpani, piano and string
orchestra Igor Blazhkov, conductor (Leningrad, 1967)
2. Cantata (1973) for soprano and orchestra on the words by Tyutchev and Blok
Nelly Lee, soprano; Igor Blazhkov, conductor (Kiev, 1980)
3. Serenade (1978) for strings
Alexander Rudin, conductor (Moscow, 1993)
4. Autumn Serenade (1980... 2000) for chamber orchestra
Ludmila Voinarovskaya, soprano; Virko Baley, conductor (Kiev, 2000)
5. Intermezzo (1983, rev. 1993) for chamber orchestra
Virko Baley, conductor (Kiev, 1994)
6. Epitaph (1999) for piano and string orchestra
Virko Baley, conductor (Kiev, 2000)

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Valentin Silvestrov - Piano music (2009)

2011-10-05T20:25:00.005-05:00

Valentin Silvestrov - Piano music (2009) EAC rip | FLAC + CUE + LOG | Self-made covers + composer's cover | 264 Mb Recordings from the composer's archive | Genre: Classical

Valentin Silvestrov was born in 1937. He studied piano at the Kiev Evening Music School (1955–58), and composition, harmony and counterpoint at the Tchaikovsky Conservatory in Kiev from 1958 to 1964. Silvestrov was alert from the outset to new compositional approaches, and an individual lyricism and melodic feeling have been hallmarks of his work through all periods of his artistic development, irrespective of musical styles or systems employed. Together with Leonid Grabovsky, he counts as the leading figure of the “Kiev Avant-garde”, which by 1960 was experimenting with 12-tone and aleatoric music and music theatre, in contradistinction to the generally conservative mood of Ukrainian composition. His early work was briefly heard outside the Soviet Union in the late 1960s: Bruno Maderna conducted Silvestrov’s Third Symphony in Darmstadt in 1968, and Boulez presented his work in one of the Domaine Musical concerts. By this point, however, Silvestrov was already distancing himself from dominant trends in modern music. In 1969 Silvestrov re-evaluated the meaning of his music, as he examined the relationship between historical culture on the one hand and the magical, primitive and perpetual dimension of inspiration on the other. “This is where Silvestrov’s music takes a highly interesting and distinctive turn. It becomes impregnated with a slow expressive confidence and exhibits greatly prolonged melodic lines in a post romantic climate that is often reminiscent of Gustav Mahler” (Frans C. Lemaire). Silvestrov was one of the first composers from the former Soviet Union to cast aside what might be called the “conventional” gestures of the avant-garde, as well as any sense of formulaic “experimentalism”. As he has perceptively noted, “the most important lesson of the avant-garde was to be free of all preconceived ideas – particularly those of the avant-garde.” This perspective led to the development of an idiom which Silvestrov would eventually come to call “metaphorical style” or “meta-music”.

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Valentin Silvestrov - Spectra, Eschatophony, Meditation (2009)

2011-09-26T18:59:00.002-05:00

Valentin Silvestrov - Spectra, Eschatophony, Meditation (2009) EAC rip | FLAC + CUE + LOG | Self-made covers + composer's cover | 386 Mb Recordings from the composer's archive | Genre: Classical

Valentin Silvestrov is a famous composer and his discography is rather large thanks to Megadisc Classics and ECM Records. But his works of the 60s and early 70s are barely known, only a pair of them are recorded on CDs, whereas they are not less interesting than the later ones (I guess that for someone they can be even more interesting). Silvestrov was a very important and probably the most radical figure of so-called "soviet avant-garde" during the 60s. He has won the 1970 Gaudeamus Composers' Competition with his Third Symphony "Eschatophony". This composition was created in 1968 in Darmstadt (where it was well received by Adorno) under the direction of Bruno Maderna and you can listen to this world premiere on this CD. As well as you can listen to the creation of Silvestrov's chamber symphony "Spectra" in 1965 in Leningrad. It's absolutely amazing that such kind of music as "Spectra" or Denisov's "The Sun of Incas" could be performed in USSR in the 60th. It became possible thanks to such brave and enthusiastic musicians as, for example, Gennady Rozhdestvensky (in the case of Denisov, Schnittke, Gubaidulina) or Igor Blazhkov who conducts "Spectra" and "Meditation" on this CD. As for "Meditation" it's a kind of passage from Silvestrov's avant-garde period to his later "meta-music".

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Valentin Silvestrov - Orchestral Works vol. 1 (1998)

2011-09-18T09:51:00.003-05:00

The Ural Philharmonic Orchestra,Yekaterinenburg Conductor : Andrej Borejko Piano : Ivan Sokolov

Monodia (1965) This music from Silvestrov’s modernistic period bears a title which might seem contradictory with regard to the complex writing adopted by the composer : a dodecaphonic theme, pointillist Klangfarben, aleatoric episodes, its form and the sounds used by the composer are typical of the sixties. The meaning of the title probably lies within the role reserved for the piano, whose monologue traverses the orchestra’s instrumental abundance like a long recitative.Two relatively short pieces respectively constitute the intro and outro for a long and slow movement. The short pieces remain true to the form of the sonata with its two themes, one dodecaphonic and the other somewhat jazzy.The central movement, which is more adventurous, accumulates sonorous elements that are simultaneously mysterious, poetic and threatening. The form is diluted into aleatoric extremes.The piano seems to flounder and, silently, listen to the improvised rhythms of the percussion and wood-wind instruments. In comparison, the end appears eloquent, scintillating and spectral (Spectre is the title of a piece dating back to the same period).

Fourth Symphony for strings and brass instruments (1976) The fact that Silvestrov restores subjectivity to inspiration is beautifully illustrated by this Fourth Symphony that presents itself as an extensive orchestral monologue whose successive episodes simultaneously avoid the typical post- Chostakovitch melodrama and Pärt or Kancheli’s dreamy stillness. Nevertheless, the oeuvre does convey a similar “lethargy of time”, the slow nostalgic reflection on an impossible whole. Silvestrov states that “music is not a philosophy, a world view, a Weltanschaung. Above all, it is a chant, a song the world sings about itself, it is the musical testimony to life.” Thus, the pathetic quest for a metaphysical meaning and a tragic mysticism (in the words of Silvestrov’s friend of Ukrainian origin, composer and conductor Virko Baley (*1)) is magnified in this Fourth Symphony which, in the eighties, will cause Silvestrov to adopt a final form, viz. that of the Postludium, the Postsinfonia (Fifth Symphony) and that of the Metamusic. It is “after-music”, “end-music”, music from beyond and not introductory music. It is a unifying synthesis and not a mosaic, it is the music of an affect who is swept off his feet and does not look back, it is not the music of an intellectual who constantly seeks to correct himself.

Postlude for piano and orchestra (1984) Used since 1979 for the finale of the Third Sonata, the term Postludium resurfaces in 1981 in two other compositions (one for solo violin, the other, as with Postlude DSCH, as a homage to Chostakovitch for soprano and trio) and again in 1983 in a piece for cello and piano. In 1984, it appears in its most important form in this Postludium for piano and orchestra which carries the aestheticism of the Fourth and Fifth Symphonies to its highest level of accomplishment and exaltation. Silvestrov no longer feels the need to commence a composition at the beginning since the contemporary listener has become a memory bank of the music he has already heard.What matters is the accomplishment of the oeuvre in its final estuary.What has already been expressed, tersely and concisely, in the coda of traditional forms, comes to cover the entire composition, with a total running time of up to forty-five minutes, as is the case with the Fifth Symphony. In other words, Silvestrov’s symphonies are to be perceived as the musical and eschatological coda of great implicit symphonies that silently exist within the auditor’s conscience, but which have not yet been completed. Room remains for an epilogue, a postlude that is worthy of this symphony of symphonies, an ending which both postulates and glorifies its meaning. The fact that the references to this dreamlike symphony are often of the Mahlerian variety is made obvious by the hardly disguised reminders : recitatives for trombone, melodic patterns with declining profiles, arpeggio-accompaniment, prolonged descents toward silence.The listener who allows himself to be swept away will discover, beyond the boundaries of that which has already been mentioned, how the singular power of a metamusic never heard before, captures new emotional dimensions and provides new evidence of beauty.

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Sofia Gubaidulina: Orchestral Music.(1994)

2011-09-14T12:06:00.000-05:00

En esta entrega compartimos el volumen Sofia Gubaidulina: Orchestral Music, que contiene tres piezas compuestas en dos periodos radicalemente distintoss de su carrera composicional: Pro et Contra de 1989 que corresponde ya al periodo de exito y reconocimiento, despues de abandonar la URSS, y Concordanza y Märchenbild ambas de 1971 escritas durante el duro periodo de la censura bajo el dogmatismo sovietico durante la guerra fria.
Se recomienda escuchar este disco con especial cuidado en la ecualizacion para lograr escuchar los bajos.

This CPO disc contains three pieces by Russian-Tatar composer Sofia Gubaidulina. This first was written in the late 1980s, when the composer had finally found recognition abroad and had reached the height of her talent. The second two, however, are early works from 1971. The Radio-Philharmonie Hannover des NDR performs, led by Johannes Kalitzke in the first two pieces and Berhard Klee in the third.

Gubaidulina's "Pro et contra" for large orchestra (1989) does not, as the title suggest, feature strongly clashing moods or tempos. Instead, the piece consists of subtly contrasting groups of instrumental sonorities. For example, bass drums and tam-tums contrast with bells, celestra, harpsichord, and harp. Overt tonalism contrasts with minor seconds and chromaticism. The melodic material, and indeed the entire development and spiritual significance of the work, is based on the Russian Orthodox "Hallelujah" chant. Portions of the music vie for or against the chant, creating a chronicle of initial religious doubt and final certainty. Indeed, the material is continued in Gubaidulina's later piece "Alleluia" for choir, boy soprano, and orchestra (1990) and the oratio "Lauda" (1991), and all together they form the trilogy "Prayer for the Age of Aquarius". There is so much to like about "Pro et contra", its vast dimensions, the hammering tones of its final confession of faith, the skillful orchestration, but you'll need a good stereo system to really get it. At first I thought the piece was a failure, feeling that the second movement dragged on and on with excessive silence, but that was only because you can't hear its low basses on lesser equipment. Now, I'm hooked. What makes this version stand apart from the BBC National Orchestra of Wales / Tadaaki Otaka recording on BIS is Kaliztke's considerably faster pace, leading to a total time of 33'50 (I: 8'44, II: 17:53, III: 7'13) compared to Otaka's 39'59 (I: 9'49, II: 20'54, III: 9'01). I have mixed feelings about this. On one hand, the form as a whole is more readibly visible here, but there's less of a religious sentiment than in the brooding meditations of Otaka.

"Concordanza" (1971) is one of Gubaidulina's first overt avant-garde efforts. It uses such novel techniques as atonality, though (like in "Pro et contra") in the typically Russian fashion as something to be seen as antagonistic, and whispers from the performers. The title refers to an attempt to make harmony--legato, tonality, the smooth flow of sound--out of discord, namely staccato from the winds, pizzicato, the murmuring of the players, and (a jab at Soviet aesthetic values?) march rhythms. The writing is clearly skilled, but the piece is for me, somewhat juvenile. Gubaidulina really came of age in the late 1970s. The same can be said about "Fairytale Poem (Maerchenpoem)" for symphony orchestra (1971), the shortest work here. Originally written for a children's radio play called "The Little Chalk", the piece lacks the specifically Orthodox Christian focus of her finest work.

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Kancheli: Styx, Gubaidulina: Viola Concerto

2011-09-13T12:03:00.000-05:00

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En este disco una pieza de Giya Kancheli:Styx - for Viola, mixed choir and orchestra (1999), y otra de Sofia Gubaidulina:Concerto for Viola and Orchestra (1996), ambas en la ejecucion incomparable de Yuri Bashmet (Viola) , la direccion orquestal de Valery Gergiev, y el sonido de la Orchestra of the Mariinsky Theatre. Un registro obligado para los seguidores de Gubaidulina, en formato FLAC.

Kancheli's Styx casts the viola as the mythological river that bridges life and death, the finite and the infinite. Typical of Kancheli's works, it's full of silences, long stretches of delicate pianissimo music, and eruptions of massive blocks of orchestral (and in this instance, choral) sound. Time seems suspended throughout its 34-minute length, and interest is held by the sound of Bashmet's viola, ranging from rich and deep to high, thin eeriness, and by the aura of mystery pervading the work. Gubaidulina's Viola Concerto shares some of those characteristics. It opens with a questioning viola solo and a halting, tentative-sounding orchestra, each punctuated by pregnant silences. Bashmet's viola is center-stage for most of the work and he plays with rapt concentration, bringing out the contrasts between light and shade that are a central motif of the work. Gubaidulina's Concerto shares Kancheli's sense of mystery, but her music has a tougher core. Both pieces are significant additions to the repertory, and it's hard to imagine better performances than those of Bashmet, Gergiev, and the other musicians. --Dan Davis

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Sofia Gubaidulina: Orchestral Works & Chamber Music

2011-09-12T12:01:00.000-05:00

This disc brings together three pieces by the Russian-Tatar composer Sofia Gubaidulina, among the greatest of modern composers and a very unique voice on the scene of contemporary composition. The pieces represented are on the periphery of Gubaidulina's most substantial work, but still worth listening to.
The "String Trio" for violin, viola, and vioncello (1988) is tremendously exciting. The first movement begins with scratchy austerity and eventually breaks into every interplay of the strings that one can imagine. The second movement has a clockwork rhythm reminiscent of Ligeti's second string quartet, while the third, final movement summarises what came before and breaks it down into a meditative lull. This piece fits with the most religious parts of Gubaidulina's oeuvre, such as her "Seven Words" for violin and bayan, or "Hommage a T.S. Eliot." This performance by Yevgeniya Alikhanova, Tatyana Kokhanovskaya, and Olga Organovich is, I feel, the best available. There is also a recording of the piece by the Danish Trio on CPO which is less satisfying but still worth tracking down.
"Hour of the Soul", dating from 1974, is a setting of the second part of the poem of that name by Marina Tsvetaeva, whose poetry Gubaidulina further used in the a capella "Hommage a Marina Tsvetaeva". However, the first twenty minutes of this half hour-long piece are purely instrumental, and there is a use of percussion in some places reminiscent of the sixth and seventh parts of her "Johannes-Passion". The performance by the Leningrad Philharmonic Orchestra seems committed, and the singing of Lina Mkrtchyan is spine-tingling. I do not understand why this piece did not come to gain more attention after Gubaidulina's introduction to the West.
"Night in Memphis", a cantata written in 1968, is one of the few earlier Gubaidulina works available. A friend had asked her to set some Egyptian texts to music. As this predates Gubaidulina's commitment to Russian Orthodoxy and her drive to express her faith in music, the piece might fairly justly be called juvenalia. It is not a bad piece, but simply one that does not call the listener back to listen again very often.
It is a pity that the recordings of the latter two pieces are less than ideal. "Hour of the Soul" has all the downsides of a live recording, with murmuring and coughing, while "Night in Memphis" is often nearly inaudible. "String Trio" is, happily, an exception and it is perhaps the finest recording of the piece available. The liner notes are sparse, and I would have preferred a libretto for the latter two pieces. This disc would probably be a dreadful introduction to Gubaidulina's work. If you have never heard anything by this greatest of contemporary composers, I'd recommend the OFFERTORIUM disc on Deutsche Grammaphon, the recent inexpensive disc on Naxos, or perhaps her "Johannes-Passion", which is her masterpiece and the greatest work of Christian piety of our time. If you're already a fan of Gubaidulina's ouevre and looking for more material, this is a good choice.

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Sofia Gubaidulina: In the Mirror

2011-09-11T12:00:00.000-05:00

IN THE MIRROR is a 2002 collection of three works by Sofia Gubaidulina, one clearly juvenalia, another from her early maturity, and the last from 1993 when she had already established herself as one of the greatest living composers. While nothing here is disappointment, the contents of this disc are minor works and the CD is not an essential purchase for Gubaidulina neophytes.
"Quintet for Piano, Two Violins, Viola, and Violoncello" dates from 1957, the third year of her studies at the Tchaikovsky Conservatory in Moscow. It is the second earliest piece the composer has retained in her official catalogue of works.
The premiere performance was by the Komitas Quartet from Armenia with Gubaidulina herself playing the piano part. As this piece was written before Gubaidulina's entrance into the Russian Orthodox Church, there is none of the spiritual depths of her later, mature pieces. Instead, the Quintet is a vaguely Romantic piece with clear inspiration from Shostakovich. This is pleasant music, but most useful as a document of her youth.
The one-movement piano concerto "Introitus" (1978) is a considerably more mature work, firmly rooted in Gubaidulina's interest in Christian mysticism. Like with many other compositions by Gubaidulina (such as "In Croce" for organ and cello, or the JOHANNES-PASSION), there is a contrast between the temporal/horizontal and the eternal/vertical. In the first portion of the work, the first theme the chamber orchestra is assigned represents Man, while the chromatic range is religious understanding. Gubaidulina goes on to develop a range of symbols too complex to describe here, but suffice it to say that this is a very good display of her spiritual aims in the art of composition. However, it does not rank with the best portions of her oeuvre and might be remembered as a minor work. The Kyiv Chamber Players conducted by Vladimir Kozhukhar give an admirable performance, though I was not very impressed by the piano playing of soloist Beatrice Rauchs.
"Dancer on a Tightrope (Der Seiltaenzer)" for violin and piano was written in 1993. The violin represents a tightrope walker attempting to keep his balance, while the piano, first played on the strings with a glass tumbler, is a symbol of risk. It's an interesting experiment, though not as successful as most of Gubaidulina's work. Gidon Kremer, who first brought recognition to Gubaidulina in the West through his performance of her "Offertorium", plays excellently here, while Vadim Sakharov accompanies him well on piano. This performance was recorded live at the 1995 Lockenhaus Festival. There is another disc on BIS which collects more of that festival's performances of the music of Gubaidulina, as well as some pieces of Viktor Suslin, with whom she founded the traditional music ensemble Astreja.
This would probably be a very poor introduction to Gubaidulina. For those who have never heard the music of this superlative composer, I'd recommend the JOHANNES-PASSION, her masterpiece and possibly the greatest work of Christian piety of our time, or the OFFERTORIUM disc in Deutsche Grammphon's "Echo 20/21" series. Leave IN THE MIRROR for when you've already become fascinated with her music.

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Sofia Gubaidulina - The Seven Last Words, Rubayat & Vivente - Non Vinete

2011-09-10T11:59:00.001-05:00

Drawing upon her own faith and upon musical examples provided in past centuries by Heinrich Schütz and Franz Josef Haydn, Gubaydulina composed her Sem' slov na kreste (The Seven Words on the Cross) in 1982. Unlike the two earlier works, Gubaydulina's is entirely instrumental (although she does borrow one thematic idea from Schütz's work). The first performance of the work came in that same year of 1982, with cellist Vladimir Tonkha and bayan soloist Friedrich Lips (to whom the work is dedicated), along with the Ricercar Chamber Orchestra conducted by Y. Nikolayevsky. On this Melodiya CD also Rubayat for Bariton and Chamber Orchestra and Vivente-Non Vivente for synthesizer.

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Thomas Koppel: Los Angeles Street Concerto (2006)

2011-08-28T10:13:00.005-05:00

Free download. Descarga gratuita. En esta entrega tres trabajos de Thomas Koppel escritos para la virtuosa de la flauta Michala Petri, con la direccion de Bo Holten, el sonido de la Copenhagen Philharmonic Orchestra, y la guitarra de Lars Hannibal.
Un homenaje a la fortaleza espiritual y la resistencia social de los pobres, los inmigrantes y los sin-casa de la ciudad de Los Angeles California, que a pesar de la crueldad de un sistema que los borra de su contabilidad, siguen viviendo, amando, trabajando y soñando.

Los Angeles Street Concerto was written in 1999 and commissioned by Linda Attiyeh, a friend in Los Angeles who is involved with Green Umbrella, the new music ensemble of the Los Angeles Philharmonic. The piece premiered in 2000 in Aalborg and played in New York six months later. In 2004 Michala Petri performed the piece with violinist Gidon Kremer and his ensemble Kremerata Baltica, and Gidon Kremer became so enthusiastic about the music that he commissioned a violin concerto from Thomas Koppel. Unfortunately this project remains unfinished, and Thomas left little more than sketches. The ensemble in Los Angeles Street Concerto is sopranino recorder, 9 strings and celesta. "It is a very demanding little piece that requires a dazzling virtuoso and 10 dazzling musicians who can combine virtuosity with poetry, humour and the joy of storytelling," wrote Thomas Koppel. And in connection with the first performance he offered this presentation of the idea behind the concerto: "One of the strangest city centres in the world is in Los Angeles. By day the area is thronging with financial and business people in white shirts, mingling with hundreds of thousands of Mexican mothers shopping in the cheap Mexican stores with their children, as well as thousands of homeless people. In the evening, when both the financial workers and the housewives have gone home, only the homeless are left behind, centred on Los Angeles Street, where they live in cardboard boxes around the social services and soup kitchens of the various faiths. The homeless are young and old, from all social strata, single mothers with small children, teenagers. Some of the young people survive as fabulous performance artists, using nothing but the street as their stage." "The concerto is a little tale in these gloomy surroundings, like a love pas de deux between the recorder and the first violin and with lively participation from the other instruments. While forming a ‘collective' weave of voices, rhythms and sounds, each one is also 100% a soloist. "For myself the work expresses profound joy and gratitude at experiencing that people can keep their integrity, initiative, humour and faith in life, even in the most humiliating circumstances. That is why the piece is also an extension of my lifelong urge to combine the best ‘classical' composing craftsmanship with contemporary content, accessible to the people I love and feel attached to, who do not necessarily have any ‘training' in listening to modern classical music."
Bob Attiyeh and Jens Cornelius, 2006

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Soviet Avant-Garde: Protopopov - Mosolov - Lourie - Roslavets

2011-08-25T12:30:00.003-05:00

This is an amazing collection of some semi-known and unknown Soviet composers. Bordering on Futurism, this "avant-garde" collection spans a vast range of the emotional and aesthetic spectrum. The Roslavets and Mossolov can be found elsewhere, though Schleiermacher's interpretations are outstanding. The Protopopov makes it worth buying this alone, with black tones and low registers all the way to its cataclysmic ending. The Lourie pieces are mind-bending and bleak as well. This CD and its second volume are much-needed contributions to understanding the evolution of modern music.

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Music of Soviet Composers of the 20's

2011-08-21T11:31:00.003-05:00

Nikolai Andreevich Roslavets, fue conocido como uno de los mas destacados musicos del "Arte Izquierdista" que florecio inmediatamente despues de la revolucion de Octubre de 1917, sus trabajos fueron publicados en la prensa futurista y encabezo la Asociacion de Musica Contemporanea. Al final de la decada de los veintes, como resultado de su critica a la identificacion mecanica de la musica con la ideologia, fue perseguido por el estalinismo, y en los años treinta una purga gigantesca de musicos tomo el nombre de "el Caso Roslavets". Se le identifica con la Escuela Futurista Rusa y es muy citada su afinidad con los trabajos tardios de Alexander Scriabin. Este disco incluye musica de Popov, Zhivotov y Mosolov.

Tracklist

01. Popov - Chamber Symphony op. 2 - I. Moderato Cantabile [0:06:35.16]
02. II. Scherzo. Allegro [0:07:55.00]
03. III. Largo [0:10:13.00]
04. IV. Finale. Allegro Energico. Fugue [0:07:48.00]
05. Mosolov - Four Newspaper Adds op. 21 (Tell All - Missing - Citizen Zaika - Personal Visit [0:04:13.00]
06. Mosolov - 3 Children Scenes op. 18 [0:03:12.17]
07. Zhivotov - Sketches for Nonet op. 2 [0:07:43.82]
08. Roslavets - Nocturne Quintet for Harp, Oboe, 2 Violins and Cello [0:07:13.17]

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Hanns Eisler -Lieder und Kantaten im Exil

2011-08-13T18:45:00.005-05:00

Early years and Bertolt Brecht
During World War I Hanns Eisler served as a front-line soldier in the Austro-Hungarian army and was wounded several times in combat. Returning to Vienna after Austria's defeat, he studied from 1919 to 1923 under Arnold Schoenberg. Eisler was the first of Schoenberg's disciples to compose in the twelve-tone or serial technique. He married Charlotte Demant in 1920; they separated in 1934.
In 1925 Eisler moved to Berlin—then a hothouse of experimentation in music, theater, film, art and politics. There he became a member of the Communist Party of Germany and became involved with the November Group. In 1928, he taught at the Marxist Worker's School in Berlin and his son Georg Eisler, who would grow up to become an important painter, was born.
His music became increasingly oriented towards political themes and, to Schoenberg's dismay, more "popular" in style with influences drawn from jazz and cabaret. At the same time, he drew close to Bertolt Brecht, whose own turn towards Marxism happened at about the same time. The collaboration between the two artists lasted for the rest of Brecht's life.
In 1929, Eisler composed the song cycle Zeitungsausschnitte, Op. 11. The piece is dedicated to Margot Hinnenberg-Lefebre.[3] Though not written in the twelve-tone technique, the piece was perhaps the forerunner of a musical art style later known as "News Items" – musical compositions that parodied a newspaper's content and style, or that included lyrics lifted directly from newspapers, leaflets, magazines, and other written media of the day. Eisler's piece parodies a newspaper's layout and content, with songs in the cycle given titles similar to headlines. The piece offers evidence of Eisler's socialist leanings, as its lyrics indicate the struggles of ordinary Germans who, after World War I, encountered hardship.
Eisler also wrote music for several Brecht plays, including The Decision (1930), The Mother (1932) and Schweik in the Second World War (1957). They also collaborated on protest songs that intervened in the political turmoil of Weimar Germany in the early 1930s. Their Solidarity Song became a popular militant anthem sung in street protests and public meetings throughout Europe, and their Ballad of Paragraph 218 was the world's first song protesting laws against abortion. Brecht-Eisler songs of this period tended to look at life from "below"—from the perspective of prostitutes, hustlers, the unemployed and the working poor. He worked with Brecht and the director Slatan Dudow on the film Kuhle Wampe which was banned by the Nazis in 1933. [edit]

In exile
After 1933, Eisler's music and Brecht's poetry were banned by the Nazi Party. Both artists fled, first to Moscow, where The Decision was produced and staged.[5] Eventually, Eisler and Brecht sought refuge in the United States, along with other exiles fleeing Nazi Germany.
In New York City, Eisler taught composition at the New School and wrote experimental chamber and documentary music. Moving shortly before World War II to Los Angeles, he composed several Hollywood film scores, two of which—Hangmen Also Die! and None but the Lonely Heart—were nominated for Oscars. Also working on Hangmen Also Die! was Bertolt Brecht, who wrote the story along with director Fritz Lang.
In 1947, he wrote the book Composing for the Films with Theodor W. Adorno. In several chamber and choral compositions of this period, Eisler returned to the twelve-tone method he had abandoned in Berlin. His Fourteen Ways of Describing the Rain—composed for Arnold Schoenberg's 70th birthday celebration—is considered a masterpiece of the genre.
Eisler's two most notable works of the 1930s and 40s were the monumental Deutsche Sinfonie (1935–57)—a choral symphony in eleven movements based on poems by Brecht and Ignazio Silone—and a cycle of art songs published as the Hollywood Songbook (1938–43). With lyrics by Brecht, Eduard Mörike, Friedrich Hölderlin and Goethe, it established Eisler's reputation as one of the twentieth century's great composers of German lieder.

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Hanns Eisler - Vokalsinfonik

2011-08-04T13:35:00.005-05:00

More about Eisler Eisler's family could not afford a piano, so he learned music from books and scores, an activity he continued through his teen years (1908 - 1915) at the Staatsgymnasium. In World War I, he served in a Hungarian regiment (1916 - 1918), composed an oratorio Gegen den Krieg (Against War, a title revived later for his cantata with words by Brecht), and afterwards became a student at the New Vienna Conservatory and a proofreader for Universal Edition. Both Arnold Schoenberg and Anton Webern gave Eisler free private lessons in composition (1919 - 1923), influencing Eisler's highly chromatic and harmonically dense yet witty and graceful early style (notably in the Piano Sonata, Op. 1). Eisler moved to Berlin to teach in 1925, and thinned his harmonic style and added jazz-inspired rhythms. The next year, Eisler joined the German Communist Party, wrote articles for the periodical Rote Fahne (Red Flag), and composed choral works (eg., "Der neue Stern"/The New Star) and popular marching songs ("Solidaritätslied"/Solidarity Song, "Einheitsfrontlied"/The United Front Song, and other classics). In 1930 he began his lifelong collaboration with writer Berthold Brecht, immediately producing Die Massnahme and one of the first important works of socialist realism, the moving cantata Die Mutter (The Mother, 1932). This work contains neo-Classical elements, energetic choruses ("Der zerrissene Rock"/The Torn Coat, about factory bosses who deride workers' needs, and the "Grabrede"/Funeral Oration, a melodically powerful Stravinskian harmonization of Gregorian chant), and touching arias (the extraordinarily beautiful quasi-twelve-tone song "Lob der dritten Sache"/In Praise of Lower Class Causes). The final chorus contains the image of the Mother carrying the red banner, untiringly. After 1933, Eisler's works were banned by the Nazis. Forced into exile for 15 years, he traveled throughout Europe and to the U.S. and Mexico, teaching and composing for films (such as the beautiful Fourteen Ways of Describing the Rain, 1941, based on an anagram of the name Schoenberg). Eisler began his largest work in 1935, the Deutsche Sinfonie, Op. 50 (1935 - 1957), a soul-moving, dramatic, "anti-fascist cantata" in Eisler's tonal-serialist style. The text is by Brecht with portions from the novel Bread and Wine (1936) by the "renegade" author Ignazio Silone, who opposed Stalin's "show trials." In 1947, Eisler and Brecht were brought before the infamous House Committee on Un-American Activities and questioned about works like "Lob des Kommunismus" (In Praise of Communism) from Die Mutter which states that communism is against filth and criminality. Eisler left the States and eventually settled in the DDR, composing their national anthem, and writing "applied music" for the theater (17 plays), cinema, cabaret (36 chansons, and the splendid "Neue deutsche Volkslieder"/ New German Folksongs), television, public events, and so on.

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Hanns Eisler - Chorlieder, Kinderlieder, Volkslieder

2011-07-29T15:56:00.002-05:00

One of the most original and prolific composers of the twentieth century, Eisler proved that expressing humanistic and political concerns does not necessarily lead to musical banalities, but can achieve his stated aesthetic ideal of "freshness, intelligence, strength and elegance" (as opposed to "bombast, sentimentality and mysticism"). On this CD Chorlieder, Kinderlieder and Volkslieder.

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Hans Eisler, Deutsche Sinfonie. An Anti-Fascist Cantata.

2011-07-13T14:40:00.009-05:00

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Revolucionario para el mundo, "degenerado" para los fascistas.

Hans Eisler es uno de los iconos de la música antifascista, Fue un hombre radicalizado a la izquierda que experimento todos los cambios rupturistas de su época. Discípulo de Arnold Schoenberg entre 1919 y 1923, fue el primero de sus estudiantes en componer en escala dodecafónica.
Compañero y colaborador de Bertold Brech, fue pionero del tránsito de la música culta al espacio del cabaret.
Después de 1933, su música fue prohibida por el Partido Fascista y etiquetada --junto a la de otros compositores judíos--como "Música Degenerada"
Aquí compartimos la Deutsche Sinfonie. An Anti.Fascist Cantata. Es una adaptación de versos de Bertold Brech reunidos en el volumen Poemas y Coros de 1934, incluye también tres poemas de Ignazio Silone.
La Cantata Antifascista fue grabada hasta 1995, con los solistas de la Leipzig Gewandhaus Orchestra bajo la conducción de Lothar Zagrosek.
Esta joya forma parte de la colección de obras censurada que DECCA reunió bajo el titulo de Música Degenerada.

For Eisler, that meant music with a message. Before World War II, Eisler was one of the first serious composers to experiment with the new technologies of radio, sound film and recording, but he was best known for his collaboration with Bertolt Brecht in the radical musical theater that flourished in Berlin during the last crisis years of the Weimar Republic. Both content and form dictated Eisler's style, which tended to produce concentrated bursts of meaning through carefully constructed forms. Then the Nazis came to power, and Brecht and Eisler fled for their lives. The "German Symphony" dates from this period. The symphony's 11 movements may perhaps be better described as an extended oratorio than an integrated choral symphony, but still, the effect is impressive, and the opening Praeludium is one of the finest cultural legacies of Eisler's "lost generation" during the years of exile from Nazi-dominated Europe. It is a powerful cry of protest, partly to words by Brecht, against the evil that raged through their German homeland.

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Paul Hindemith - Orchestral Works Box-Set Vols. 1-6

2011-07-03T23:25:00.010-05:00

Hindemith was the greatest German composer of the post-War period, and the last in that great line that began with Bach and extended through the Classical and Romantic periods. His orchestral music is varied and generally extremely approachable, and the percentage of major works is very high. Nobilissima visione, Symphonic Metamorphoses, Mathis der Maler, Symphony in E-flat, and Concert Music for Strings and Brass are all popular masterpieces, while works such as the Symphonic Dances, Symphonia Serena, and Harmony of the World Symphony deserve the same accolades. This set, excellently performed and recorded by a selection of fine Australian orchestras, really deserves the widest circulation among fans of listenable contemporary classical music. --David Hurwitz

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Berthold Goldschmidt: Album - Vocal and Orchestral Music-Simon Rattle, Birmingham SO

2011-05-26T19:30:00.003-05:00

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Catalogado como autor de "música degenerada" por la persecución nazi, Berthold Goldschmidt hubo de refugiarse en Inglaterra en 1935, donde vivió dos tercios de su vida.
En este Álbum, se recogen piezas que fueron escritas entre 1925 y 1994, y que son una muestra de toda su obra, cada día mas escuchada y admirada en el mundo entero.

1.- Passacaglia, Op 4 (1925)
Composed by Berthold Goldschmidt
Conducted by Simon Rattle

2.- The Comedy of Errors, overture to Shakespeare (1925-1958)
Composed by Berthold Goldschmidt
Conducted by Berthold Goldschmidt

3.- Ciaconna Sinfonica (1936)
Composed by Berthold Goldschmidt
Conducted by Simon Rattle

4.- Chronica (1938-58-86)
Composed by Berthold Goldschmidt
Conducted by Yakov Kreizberg

5.- Les Petits Adieux (1994)
Composed by Berthold Goldschmidt
with Francois LeRoux
Conducted by Charles Dutoit

6.- Rondeau 'Rue du Rocher' for violin and piano
Composed by Berthold Goldschmidt
Chantal Juillet (violin)
Conducted by Berthold Goldschmidt

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Mahler, Sinfonía no.4 y Lieder Eines Fahrenden Gesellen, Arreg. Arnold Schoenberg

2011-05-15T23:33:00.001-05:00

Registro para la descarga gratuita de la Sinfonía no.4 y los Lieder Eines Fahrenden Gesellen de Gustav Mahler, en arreglo para Orquesta de Cámara. Ejecución de The Smithsonian Chamber Players, y Santa Fe Pro Música, con dirección de Kenneth Slowik, y las voces de Christine Brandes, soprano, y Susan Platts, mezzo-soprano.

Este álbum es particularmente interesante, por tres razones: la primera, de carácter histórico, es que nos entrega dos trabajos que son, en sí mismos, muestra del cambio radical que vio nacer a la Segunda Escuela de Viena, con Arnold Schoenberg y sus discípulos, edificando una concepción totalmente distinta a toda la herencia musical renunciada.

En efecto, estos arreglos, se inscriben en la operación de la Sociedad para la Ejecución Musical Privada (Verein für musikalische Privataufführungen ), un espacio de concierto opuesto a las prácticas de la Viena Burguesa, consagrado exclusivamente a la música de ruptura, en el que la música de Mahler es tratada con admiración y respeto, al modo de los revolucionarios.

Una segunda razón que lo hace interesante es que nos permite ubicarnos en el entronque de la vanguardia emergente con la lucha de Mahler: aquí se hermanan los nuevos músicos con el último gran exponente del pasado, estos son los sonidos de una transición musical en que lo nuevo re-expone al más avanzado de los “viejos”.

La anécdota es muy esclarecedora: Ese viejo luchador que fue Mengelberg organiza en mayo de 1920, el Festival Mahler. Se reúnen músicos de todo el mundo y escuchan –durante 16 días--a Melgenberg ejecutar toda la obra Mahleriana. En un mundo sin grabaciones, Mengelberg corona así lo que él llamo su “campaña por Mahler”, que había consistido en 25 años de difusión de las sinfonías de GM: más de 400 conciertos, solo de la cuarta 100 ejecuciones.

En ese Festival, Schónberg y su más cercano colaborador Erwin Stein, se comprometen a hacer la transcripción de la cuarta—usando las anotaciones y partituras de Mengelberg—y de los Lieder del Viajante.

Cambio y continuidad, ruptura y solidaridad en la lucha cultural: Transición de fondo, es lo que estas piezas atestiguan.

Pero hay una tercera razón, esta de naturaleza técnica que hace aun más fascinante el álbum: El Smithsonian Chamber Players, es una Orquesta de Cámara que utiliza, dos violines, una viola y un cello de la casa de los Amati de Cremona, hechos en el siglo XVII, probablemente por Antonio Stradivari.

Si a estos instrumentos se le suma una orquesta de primerísimo nivel, cuerdas de tripa, y una grabación singular que no le concede nada a la ecualización digital; estamos ante un disco en el que Mahler le agradece a su amigo y camarada Mengelberg estar cerca de los revolucionarios de la Segunda Escuela, exigiendo un sonido de los violines que desde su origen representa la irrupción de la muerte, solo que ahora agradecida de atestiguar como la vida renace.

Symphony No.4 in G Major
Arreglo de Erwin Stein (1921), para soprano, flauta/piccolo, oboe-English horn, clarinet-bass clarinet, dos violines, viola, cello, double-bass, piano, harmonium y percussion

01.- Bedaechtig. Nicht eilen___________________ 17:00
02.- In gemaechlicher Bewegung. Ohne Hast______ 8:34
03.- Ruhevoll______________________________ 21:05
04.- Sehr behaglich__________________________ 9:28

Lieder Eines Fahrenden Gesellen
Arreglo de Arnold Schoenberg (1920), para voz, flauta/piccolo, clarinet, dos violines, viola, cello, double-bass, piano, harmonium y percussion

05.- 'Wenn mein Schatz Hochzeit macht'____________ 3:54
06- .'Ging heut' Morgen uebers Feld'_______________ 3:57
07.- 'Ich hab' ein gluehend Messer in meiner Brust'____ 3:09
08- .'Die zwei blauen Augen von meinem Schatz'_____ 5:29

Duracion Total : 73:46

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Shostakovich Studies, Edited by David Fanning

2011-05-13T12:15:00.004-05:00

Few composers' posthumous reputations have grown as steadily as Shostakovich's. Yet outside the
concert hall the focus of attention seems to have been on the extraordinary circumstances of his life
rather than on the music itself. This book seeks to show that the power of his work stems as much
from its craftsmanship as from its political and personal context. The eleven essays lay a foundation
for a proper understanding of Shostakovich's musical language as well as providing new insights into
the issues surrounding his composition.

Contents
Acknowledgments page ix
1 Introduction. Talking about eggs: musicology
and Shostakovich 1
DAVID FANNING
2 Public lies and unspeakable truth
interpreting Shostakovich's Fifth Symphony 17
RICHARD TARUSKIN
3 Form in Shostakovich's instrumental works 57
YURIY KHOLOPOV
4 Russian theorists on modality in Shostakovich's music 76
ELLON D. CARPENTER
5 The cycle of structure and the cycle of meaning
the Piano Trio in E minor, Op. 67 113
PATRICK McCRELESS
6 Leitmotif in Lady Macbeth 137
DAVID FANNING
7 From Lady Macbeth to Katerina
Shostakovich's versions and revisions 160
LAUREL E. FAY
8 The Golden Age: the true story of the premiere 189
MANASHIR YAKUBOV
9 'And art made tongue-tied by authority'
Shostakovich's song-cycles 205
DOROTHEA REDEPENNING
10 A debt repaid? Some observations on Shostakovich
and his late-period recognition of Britten 229
ERIC ROSEBERRY
11 Shostakovich and Schnittke: the erosion of
symphonic syntax 254
ALEXANDER IVASHKIN
Index 271

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Alban Berg: Tief in der Nacht, Juliane Banse (2010).

2011-05-06T21:44:00.005-05:00

Free download, Descarga gratuita. Hoy compartimos un esplendido disco con lieder de Alban Berg en la voz de Juliane Banse. El registro ha saltado a la fama por razones extra-musicales pues, siendo una verdadera joya, AMAZON lo ha puesto a la venta en 50 dólares, levantando una justa oleada de protestas entre los melómanos que ya no soportan calladamente los abusos de los comercializadores del trabajo ajeno. El CD es del prestigiado sello ECM. Sugerimos bajarlo rápido y regalarlo a todo aquel que sepa apreciar a Berg.
Las descargas libres son --y esperamos que sigan siendo--un canal de defensa de la cultura y el arte.

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Gubaidulina: Works for bassoon

2011-05-02T21:25:00.001-05:00

Free download. Descarga gratuita.

Among the many talented performers Sofia Gubaidulina worked with in the 1970s was the bassoonist Valery Popov. A virtuoso who had mastered contemporary techniques of microtonal playing, producing more than one pitch at a time, and so forth, Popov inspired Gubaidulina to turn toward the bassoon, and two large works of this decade were written for him. On this Chandos disc we are fortunate to have Popov performing on the instrument. He is accompanied by pianist Alexander Bakhchiyev and violist Natasha Gigashvili on one chamber piece, fellow bassoonist Mikhail Bochkov on the other, and the Russian State Symphony Orchestra conducted by Pyotr Meshchaninov on the concerto.

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Shostakovich: Symphonies ( 4 to 9), "The War Symphonies" conducted by Valery Gergiev

2011-04-28T10:53:00.003-05:00

Dmitri Shostakovich: Symphonies No. 4 in C minor, op.43; No.5 in D minor op. 47; No. 6 in B minor, op. 54; No.7 in C major, Op.60 'Leningrad'; No. 8 in C minor, op. 65; No. 9 in E flat major op. 70 – Kirov Orchestra, Mariinsky Theatre St. Petersburg (with Rotterdam Philharmonic on Op. 60); Valery Gergiev Classical | 5 CDs | EAC Rip | 1,27 GB (3% recovery) | FLAC+LOG+Cue | Full scans | Publisher: Philips | Recorded: 2001 | Published: 2003

To call this selection of symphonies ( 4 to 9), "The War Symphonies" is not historically accurate.
Dmitry Shostakovich's 7th, 8th and 9th Symphonies are his World War II symphonies -- most of the 7th was famously written during the Siege of Leningrad, when Shostakovich was photographed in his fireman's helmet, which was the basis for a Time magazine cover drawing. The 8th was also written during the war, and the 9th was written shortly afterward, and both provoked the displeasure of Stalin and the culture commissars for lacking an appropriately heroic tone. As far as I know, Gergiev has yet to record the 10th, one of DSCH's best. What you want at a minimum in a set of Shostakovich symphonies is the four best -- the 4th, 5th, 8th and 10th. If Gergiev wanted to stretch "War Symphonies" back into the '30s, he could have stretched it slightly forward into the '50s! Perhaps Gergiev has in mind that the 4th and 5th Symphonies of the 1930s reflect Stalin's Terror, which could be seen as an internal war on the Russian people. If so, this is quite legitimate, and is hinted at by the cover art -- Gergiev holding open the score, as if to say "listen to the music itself rather than assuming that there is one correct political or ideological interpretation of what it means." Shostakovich, to the best of my knowledge, was pro-Russian, and in a more complex way pro-Soviet, but definitely not pro-Stalin, which leads to a complex stance when the question is a German war of aggression against Russia when that Russia was led by Stalin. To my ears (and DSCH was to have said his music's meaning was clear to "those with ears to hear"), the music is deeply human, and deeply tragic. The 8th especially is a powerful statement against the horror of war, not a celebration of any political regime.

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Such Freedom, If Only Musical: Unofficial Soviet Music During the Thaw

2011-04-24T17:00:00.002-05:00

Such Freedom, If Only Musical: Unofficial Soviet Music During the Thaw, by Peter J Schmelz Publisher: Oxford University Press, USA | 2009-03-04 | ISBN: 0195341937 | PDF | 408 pages | 12.33 MB

Following Stalin's death in 1953, during the period now known as the Thaw, Nikita Khrushchev opened up greater freedoms in cultural and intellectual life. A broad group of intellectuals and artists in Soviet Russia were able to take advantage of this, and in no realm of the arts was this perhaps more true than in music. Students at Soviet conservatories were at last able to use various channels--many of questionable legality--to acquire and hear music that had previously been forbidden, and visiting performers and composers brought young Soviets new sounds and new compositions. In the 1960s, composers such as Andrey Volkonsky, Edison Denisov, Alfred Schnittke, Arvo Part, Sofia Gubaidulina, and Valentin Silvestrov experimented with a wide variety of then new and unfamiliar techniques ranging from serialism to aleatory devices, and audiences eager to escape the music of predictable sameness typical to socialist realism were attracted to performances of their new and unfamiliar creations. This "unofficial" music by young Soviet composers inhabited the gray space between legal and illegal. Such Freedom, If Only Musical traces the changing compositional styles and politically charged reception of this music, and brings to life the paradoxical freedoms and sense of resistance or opposition that it suggested to Soviet listeners. Author Peter J. Schmelz draws upon interviews conducted with many of the most important composers and performers of the musical Thaw, and supplements this first-hand testimony with careful archival research and detailed musical analyses. The first book to explore this period in detail, Such Freedom, If Only Musical will appeal to musicologists and theorists interested in post-war arts movements, the Cold War, and Soviet music, as well as historians of Russian culture and society.

CONTENTS:

NOTE ON TRANSLITERATION xiii
ABBREVIATIONS xv
1 Introduction 3
2 The Dam Bursts: The First and Second Conservatories 26
3 Andrey Volkonsky and the Beginnings of Unoffi cial Music 67
4 From Young to Unoffi cial: Denisov’s Sun of the Incas 131
5 Unoffi cial Venues, Performers, and Audiences 179
6 From Abstraction to Mimesis, from Control to Freedom: Pärt, Schnittke, Silvestrov,and Gubaidulina 216
7 Denisov’s Laments, Volkonsky’s Rejoinder 275
8 Conclusion: The Farewell Symphony 295
EPILOGUE: REFLECTIONS ON MEMORY AND NOSTALGIA 328
APPENDIX A: BIRTHDATES FOR PRINCIPAL INTERVIEWEES 337
APPENDIX B: TRANSCRIPT OF GLENN GOULD’S COMMENTS AT HIS MOSCOW LECTURE-RECITAL 339 APPENDIX C: PRONUNCIATION GUIDE 341
BIBLIOGRAPHY 343
INDEX 325

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Gorecki: String Quartets Nos.1-3, Royal String Quartet (2011)

2011-04-16T15:02:00.000-05:00

Free download. Descarga gratuita.
Los primeros tres cuartetos para cuerdas de Henryk Górecki, ejecutados por el Royal String Quartet, que componen: Izabella Szałaj-Zimak (violin), Elwira Przybyłowska (violin), Marek Czech (viola) y Michał Pepol (cello).

La grabacion es de la disquera Hyperion, y acaba de aparecer en el mercado.

2 CD | 399.5 MB | FLAC

CD 01
01.Already it is dusk 'String Quartet No 1', Op 62
02.Quasi una fantasia 'String Quartet No 2', Op 64 - Movement 1- Largo sostenuto, mesto
03.Quasi una fantasia 'String Quartet No 2', Op 64 - Movement 2- Deciso, energico, marcatissimo sempre
04.Quasi una fantasia 'String Quartet No 2', Op 64 - Movement 3- Arioso. Adagio cantabile ma molto espressivo e molto appassionato
05.Quasi una fantasia 'String Quartet No 2', Op 64 - Movement 4- Allegro sempre con grande passione e molto marcato
CD 02
06.… songs are sung 'String Quartet No 3', Op 67 - Movement 1- Adagio, molto andante, cantabile
07.… songs are sung 'String Quartet No 3', Op 67 - Movement 2- Largo cantabile
08.… songs are sung 'String Quartet No 3', Op 67 - Movement 3- Allegro sempre ben marcato
09.… songs are sung 'String Quartet No 3', Op 67 - Movement 4- Deciso, espressivo ma ben tenuto
10.… songs are sung 'String Quartet No 3', Op 67 - Movement 5- Largo, tranquillo

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After Adorno: Rethinking Music Sociology By Tia DeNora (PDF)

2011-04-06T14:43:00.004-05:00

After Adorno: Rethinking Music Sociology By Tia DeNora Publisher: Cambridge University Press, 2003 | 192 Pages | ISBN: 0521830257 , 052153724X | PDF | 1 MB

TheodorW. Adorno placed music at the centre of his critique of modernity and broached some of the most important questions about the role of music in contemporary society. One of his central arguments was that music, through the manner of its composition, affected consciousness and was a means of social management and control. His work was primarily theoretical, however, and because these issues were never explored empirically his work has become sidelined in current music sociology. This book argues that music sociology can be greatly enriched by a return to Adorno’s concerns, in particular his focus on music as a dynamic medium of social life. Intended as a guide to ‘how to do music sociology’, this book deals with critical topics too often sidelined such as aesthetic ordering, cognition, the emotions and music as a management device, and reworks Adorno’s focus through a series of grounded examples.

Tia DeNora is head of department and professer of sociology of music at the University of Exeter. She has published widely on music sociology. Her books include Beethoven and the Construction of Genius (1995) and Music in Everyday Life (2000).

Contents
List of figures page ix
List of music examples x
Preface: a two part invention xi
Acknowledgements xiv
A note on background reading xv
1 Adorno, ‘defended against his devotees’? 1
2 New methods and classic concerns 35
3 Music as cognition 59
4 How does music ‘channel’ emotion? 83
5 Music and ‘control’ 118
6 After Adorno: rethinking music sociology 151
Bibliography 159
Index 168

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Schnittke: Discoveries (2011)

2011-03-31T13:25:00.000-06:00

Five unknown works.

This CD presents a series of five works from across Alfred Schnittke’s career – all of them unknown to the wider listening public but nonetheless giving a conspectus of the evolution of his style. Some of the recordings from which this programme has been built were unreleased, others made specially for this CD. Most of the works were performed and recorded from photocopies of the manuscripts held in Schnittke’s family archive in Moscow and in Hamburg and at the Alfred Schnittke Archive in Goldsmiths, University of London.

Cinco trabajos desconocidos para el publico no especializado, que han sido descubiertos en los archivos de Alfred Schnittke y que se presentan en este CD por primera ocasión.

This CD from Toccata is a selection of five works that stretch across Schnittke's career … from the early 1950s to a year before his death. Significantly, none is currently otherwise available in the catalogue. All of them deserve to be better known; all are likely to be welcomed by devotees of Schnittke and those new to his distinctive sound and musical worlds. What's more the standard of performance on this generous CD is uniformly high - despite the fact that each work has a different set or sub-set of musicians. Mark Sealey -Music Web International

Six Preludes for Piano (1953-54) [18:25] *
Dialogue for cello and ensemble (1967) [12:55] **
Yellow Sound, after Vasily Kandinsky (1974) [34:54] ***
Magdalina (1977) [7:53] ****
Variations for string quartet (1997) [4:10]

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Luciano Berio: Piano Music-Andrea Lucchesini (2007)

2011-03-18T11:28:00.003-06:00

Free download. Descarga gratuita.
Obras para Piano de Luciano Berio, es una compilación que reúne trabajos realizados desde 1952 hasta 2001.
La composición pianística de Berio, ubicada entre Messiaen y Stockhausen, es ejecutada por Andrea Lucchesini y Valentina Pagni Lucchesini, en una edición del sello disquero Avie, grabada en Montevarchi (Firenze) (entre el 10/30/2004 y el 10/31/2004).
Un registro obligado para quienes gustan de la música de vanguardia del siglo XX.

1. Sonata, for piano (23:23)
Performer Andrea Lucchesini (Piano)
Date Written 2001
Period Contemporary
2. Brin, for piano (1:46)
Performer Andrea Lucchesini (Piano)
Genre Open Form
Date Written 1990
Period Contemporary
3. Leaf, for piano (1:23)
Performer Andrea Lucchesini (Piano)
Genre Open Form
Date Written 1990
Period Contemporary
4. Wasserklavier, for 1 or 2 pianos (2:02)
Performer Andrea Lucchesini (Piano)
Genre Open Form
Date Written 1965
Period Contemporary
5. Erdenklavier, for piano (1:17)
Performer Andrea Lucchesini (Piano)
Date Written 1969
Period Contemporary
6. Luftklavier, for piano (3:17)
Composer Luciano Berio (1925 - 2003)
Performer Andrea Lucchesini (Piano)
Date Written 1985
Period Contemporary
7. Feuerklavier, for piano (3:01)
Composer Luciano Berio (1925 - 2003)
Performer Andrea Lucchesini (Piano)
Genre Open Form
Date Written 1989
Period Contemporary
8. Rounds, for harpsichord or piano (3:53)
Composer Luciano Berio (1925 - 2003)
Performer Andrea Lucchesini (Piano)
Genre Open Form
Date Written 1964-1967
Period Contemporary
9. Sequenza IV, for piano (11:01)
Composer Luciano Berio (1925 - 2003)
Performer Andrea Lucchesini (Piano)
Genre Open Form
Date Written 1965-1966
Period Contemporary
10. Variazioni (5), for piano (7:40)
Composer Luciano Berio (1925 - 2003)
Performer Andrea Lucchesini (Piano)
Genre Variations
Date Written 1952-1966
Period Contemporary
11. Touch, for piano, 4 hands (1:45)
Composer Luciano Berio (1925 - 2003)
Performer Valentina Pagni Lucchesini (Piano)
Andrea Lucchesini (Piano)
Date Written 1991
Period Contemporary
12. Canzonetta, for piano, 4 hands (0:50)
Composer Luciano Berio (1925 - 2003)
Performer Valentina Pagni Lucchesini (Piano)
Andrea Lucchesini (Piano)
Date Written 1991
Period Contemporary

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Begin Again: A Biography of John Cage

2011-03-11T13:35:00.000-06:00

John Cage, whose pieces dazzled and confounded audiences for six decades, hardly seems the easiest of subjects for the biographer, but this is a well-researched, coherent, quite readable account of the composer and his work. What comes across is a man who was ferociously driven to create music and to promote it to those who could most effectively advance it. Cage was an iconoclast, yet he developed relationships—often symbiotic—with some of the iconic artists of the past century, including Arnold Schoenberg, Jasper Johns, Marcel Duchamp, Buckminster Fuller, Pierre Boulez, Robert Rauschenberg, and longtime companion Merce Cunningham.

CONTENTS
Epigraphs
1. COMES UP FAMOUS
2. THE ART OF NOISE
3. EAST AND WEST
4. MUSIC OF CHANGES
5. THE TEN THOUSAND THINGS
6. INDETERMINACY
7. FRACTURES
8. HPSCHD
9. EMPTY WORDS
10. APARTMENT HOUSE
11. CHANGES AND DISAPPEARANCES
12. TIME BRACKETS
13. EUROPERAS
14. ANARCHIC HARMONY
15. 1992

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Michael Nyman Experimental Music: Cage and Beyond

2011-03-09T15:12:00.006-06:00

Michael Nyman's book is a first-hand account of experimental music from 1950 to 1970. First published in 1974, it has remained the classic text on a significant form of music making and composing that developed alongside, and partly in opposition to, the postwar modernist tradition of composers such as Boulez, Berio, or Stockhausen. The experimentalist par excellence was John Cage whose legendary 4' 33'' consists of four minutes and thirty three seconds of silence to be performed on any instrument. Such pieces have a conceptual rather than purely musical starting point and radically challenge conventional notions of the musical work. Nyman's book traces the revolutionary attitudes that were developed toward concepts of time, space, sound, and composer/performer responsibility. It was within the experimental tradition that the seeds of musical minimalism were sown and the book contains reference to the early works of Reich, Riley, Young, and Glass. This second edition contains a new Foreword, an updated discography, and a historical overview by the author.

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Bartók: Orchestral Music, conducted by Ivan Fischer (2006)

2011-02-28T13:20:00.001-06:00

Free download, Descarga gratuita.
Ivan Fischer ha ganado, principalmente por sus insuperables registros de Mahler, un lugar entre los mejores directores de orquesta vivos de nuestros días. Su dirección musical tiene la pureza decantada de Boulez, y la magia del temperamento de los grandes músicos de Europa central.
En esta entrega compartimos las grabaciones de la obra orquestal de Bartok que Fischer condujo al frente de su orquesta, la Budapest Festival Orchestra (BFO), en la edición de Philips, [3 CD-Box set, Collector's Edition], en formato digital sin pérdida FLAC.

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Music Divided: Bartók’s Legacy in Cold War Culture (PDF)

2011-02-20T13:40:00.000-06:00

Music Divided: Bartók’s Legacy in Cold War Culture, by Danielle Fosler-Lussier University of California Press | May 24, 2007 | ISBN-10: 0520249658 | 250 pages | PDF | 1.9 MB

Music Divided explores how political pressures affected musical life on both sides of the iron curtain during the early years of the cold war. In this groundbreaking study, Danielle Fosler-Lussier illuminates the pervasive political anxieties of the day through particular attention to artistic, music-theoretical, and propagandistic responses to the music of Hungary's most renowned twentieth-century composer, Béla Bartók. She shows how a tense period of political transition plagued Bartók's music and imperiled those who took a stand on its aesthetic value in the emerging socialist state. Her fascinating investigation of Bartók's reception outside of Hungary demonstrates that Western composers, too, formulated their ideas about musical style under the influence of ever-escalating cold war tensions.

Contents
List of Illustrations ix
Preface xi
Note on Hungarian Pronunciation xix
1. Bartók’s Concerto for Orchestra and the Demise of Hungary’s “Third Road” 1
2. A Compromised Composer: Bartók’s Music and Western Europe’s Fresh Start 28
3. “Bartók Is Ours”: The Voice of America and Hungarian Control over Bartók’s Legacy 51
4. Bartók and His Publics: Defining the “Modern Classic” 72
5. Beyond the Folk Song; or, What Was Hungarian Socialist Realist Music? 94
6. The “Bartók Question” and the Politics of Dissent: The Case of András Mihály 117
Epilogue East: Bartók’s Difficult Truths and the Hungarian Revolution of 1956 149
Epilogue West: Bartók’s Legacy and George Rochberg’s Postmodernity 157
Appendix 1: Compositions by Bartók Broadcast on Hungarian Radio, 18 September to 1 October 1950 167
Appendix 2: Biographical Notes 170
Notes 173
Selected Bibliography 207
Index 221

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Music of the Twentieth Century, By Ton de Leeuw (PDF)

2011-02-19T10:06:00.004-06:00

Ton de Leeuw was a truly groundbreaking composer. As evidenced by his pioneering study of compositional methods that melded Eastern traditional music with Western musical theory, he had a profound understanding of the complex and often divisive history of twentieth-century music. Now his renowned chronicle Music of the Twentieth Century is offered here in a newly revised English-language edition.
Music of the Twentieth Century goes beyond a historical survey with its lucid and impassioned discussion of the elements, structures, compositional principles, and terminologies of twentieth-century music.

Table of Contents
Foreword by Rokus de Groot 7
Preface 9
Introduction 11
Chapter : Panorama 19
Chapter : Rhythm 37
Chapter : Melody 59
Chapter : Simultaneity 77
Chapter : Timbre 97
Chapter : Exoticism and Folklore 117
Chapter : From Free Atonality to -Note Music 135
Chapter : From -Note Music to… 163
Chapter : From the Sixties to the Present Day 195
Notes 205
List of Examples 209
List of Abbreviations 213
Acknowledgements 215
About the Author 217
Index 219

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Messiaen Warner Edition Vol. 18 (Interview with Claude Samuel)

2011-02-18T09:47:00.002-06:00

1. Oliver Messiaen: Entretien avec Claude Samuel
Réalisé à Paris en octobre 1988

Olivier Messiaen interviewed by Claude Samuel
(in French)
Recorded in the composer's flat in Paris in October 1988

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Messiaen Warner Edition Completa

Messiaen Warner Edition Vol. 17 ( 2005)

2011-02-18T09:43:00.002-06:00

Des Canyons aux étoiles... (1971-74)

1. IX. Le Moqueur polyglotte, avec Oisseau lyre et Siffeur doré
2. X. La grive des bois
3. XI. Omao, Leiothrix, Elepaio, Shama
4. Zion Park et la Cité Céleste

Alain Jacquet (Xylorimba)
François Dupin (Glockenspiel)
Georges Barboteu (Horn)
Yvonne Loriod (Piano)

Ensemble Ars Nova
Marius Constant

Sept Haïkaï (1962)
Esquisse japonaise
for piano solo, xylophone, marimba, 2 clarinets, trumpet and small orchestra

5. I. Introduction
6. II. Le Parc de Nara et les lantemes de pierre
7. III. Yamanake Cadenza
8. IV. Gagaku
9. V. Miyajima et le toni dans la mer
10. VI. Les Oiseaux de Karuizawa
11. VI. Coda

Yvonne Loriod (piano)

Ensemble Ars Nova
Marius Constant

Ape-286 MB + Scans

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Messiaen Warner Edition Vol. 16 ( 2005)

2011-02-13T11:30:00.000-06:00

Des Canyons aux étoiles... (1971-74)

Première Partie
1. I. Le Désert
2. II. Les Orioies
3. III. Ce qui écrit sur les étoiles...
4. IV. Le Cossyphe d'Heuglin
5. V. Cedar Breaks et le Don de Crainte
Duexième Partie
6. VI. Appel interstellaire
7. VII. Bryce Canyon et les rochers rouge-orange
Troisième Partie
8. VIII. Les Ressuscités et le chant de l'étoile Aldébaran

Alain Jacquet (Xylorimba)
François Dupin (Glockenspiel)
Georges Barboteu (Horn)
Yvonne Loriod (Piano)

Ensemble Ars Nova
Marius Constant

Ape-285 MB + Scans

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Messiaen Warner Edition Vol. 15 ( 2005)

2011-02-13T11:28:00.000-06:00

Méditations sur le mystère de la Sainte Trinité (1969)
for organ

1. Méditation III
2. Méditation IV
3. Méditation V
4. Méditation VI
5. Méditation VII
6. Méditation VIII
7. Méditation IX

Olivier Messiaen (organ)

Ape-208 Mb+Scans

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Messiaen Warner Edition Vol. 14 ( 2005)

2011-02-13T11:25:00.000-06:00

Trois Petites Liturgies de la Présence Divine (1943-44)
for piano solo, ondes martenot, celesta, vibraphone, percussion, unison women's voices and string orchestra

1. I. Antienne de la conversation intérieure
2. II. Séquence du Verbe, Cantique Divin
3. III. Psalmodie de l'Ubiquité par amour

Yvonne Loriod (piano)
Jeanne Loriod (ondes Martenot)

Maítrise et Orchestre de Chambre de la RTF
Marcel Couraud

Méditations sur le mystère de la Sainte Trinité (1969)

4. Méditation I
5. Méditation II

Olivier Messiaen (organ)

Ape-248 MB + Scans

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Messiaen Warner Edition Vol. 13 (2005)

2011-02-13T11:24:00.000-06:00

1. Couleurs de la cité céleste (1963)

Et exspecto resurrectionem mortuorum (1964)
2. I. Des profondeurs de l'abîme, je crie vers toi, Seigneur
3. II. Le Christ, ressuscité des morts, ne meurt plus
4. III. L'heure vient où les morts entendront la voix du fils de Dieu...
5. IV. Ils ressusciteront, glorieux, avec un nom noveau dans le concert
6. V. Et j'entends la voix d'une foule immense...

Yvonne Loriod (Piano)
Percussion de Strasbourg Choir
Domaine Musicale Orchestra
Pierre Boulez

L'Ascension (1932-33)
Quatre Méditations symphoniques pour orchestre

7. I. Majesté du Christ demandant sa gloire à son Père
8. II. Alleluias sereins d'une âme qui désire le ciel
9. III. Alléluia sur la trompette, alléluia sur la cymbale
10. IV. Prière du Christ montant vers son Père

ORTF Philharmonic Orchestra
Marius Constant

Ape-317.8 MB +Scans

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Messiaen Warner Edition Vol. 12 ( 2005)

2011-02-10T14:41:00.000-06:00

Catalogue d'oiseaux (1956-58)

Septième Livre
1. XII. Le Traquet Nieur
2. XIII. Le Couris Cendre

3. La Fauvrette Des Jardins (1970)

Yvonne Loriod (Piano)

Reveil Des Oiseaux (1953)

4. Minuit
5. 4 Heures Du Matin
6. Chants De La Matinee
7. Cadenza Finale Du Piano

Yvonne Loriod (Piano)

Orchestre National de France
Kent Nagano

Ape- 290 MB + Scans

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Messiaen Warner Edition Vol. 11 ( 2005)

2011-02-10T14:25:00.001-06:00

(1956-58)

Quatrième Livre
1. VII. Le rousserolle effarvatte
Cinquième Livre
2. VIII. L'alouette calandrelle
3. IX. La bouscarle
Sixième Livre
4. X. La merle de roche
Septième Livre
5. XI. La buse variable

Yvonne Loriod (Piano)

Ape-287.4 mB + Scans

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Messiaen Warner Edition Vol. 10 ( 2005)

2011-02-10T14:24:00.001-06:00

Catalogue d'oiseaux (1956-58)

Premier Livre
1. I. Le chocard des alpes
2. II. Le loriot
3. III. Le merle bleu
Deuxième Livre
4. IV. Le traquet stapazin
Troisième Livre
5. V. La chouette hulotte
6. VI. L'alouette-lulu

Yvonne Loriod (Piano)

Ape-247.2 MB + Scans

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Messiaen Warner Edition Vol. 9 ( 2005)

2011-02-10T14:23:00.001-06:00

Turangalîla-symphonie (1946-48)
for piano solo, ondes Martenot and large orchestra

1. I. Introduction: Modéré, un peu vif
2. II. Chant d'amour 1: Modéré, lourd
3. III. Turangalîla 1: Presque lent, rêveur
4. IV. Chant d'amour2: Bien Modéré
5. V. Joie du sommeil d'amour: Très modéré, très tendre
6. VI. Jardin du sommeil d'amour: Très modéré, très tendre
7. VII. Turangalîla 2: Un peu vif
8. VIII. Développment de'amour: Bien modéré
9. IX. Turangalîla 3: Bien Modéré
10. X. Final: Modéré, presque vif, avec une grande joie

Pierre-Laurent Aimard (Piano), Dominique Kim (Ondes martenot)
Berlin Philharmonic Orchestra
Kent Nagano

Ape- 359.8 MB +Scans

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Messiaen Warner Edition Vol. 8 ( 2005)

2011-02-09T17:07:00.000-06:00

Harawi (1945)
Chant d'amour et de mort

1. I. La ville qui dormait, toi
2. II. Bonjour toi, colombe verte
3. III. Montagnes
4. IV. Doundou tchil
5. V. L'amour de Piroutcha
6. VI. Répétition planétaire
7. VII. Adieu
8. VIII. Syllabes
9. IX. L'escalier redit, gestes du soleil
10. X. Amour oiseau d'étoile
11. XI. Katchikatchi les étoiles
12. XII. Dans le noir

Rachel Yakar (Soprano), Yvonne Loriod (Piano)

Ape-202 MB + Scans

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Messiaen Warner Edition Vol. 7 (Yvonne Loriod, 2005)

2011-02-09T15:20:00.000-06:00

Vingt Regards sur l'Enfant-Jésus (XII-XX) (1944)
for piano

1. I. La parole toute puissante
2. II. Noël
3. III. Regards des Anges
4. IV. Le baiser de l'Enfant-Jésus
5. V. Regard des prophètes, des bergers et des Mages
6. VI. Regard du silence
7. VII. Regard de l'Onction terrible
8. VIII. Je dors, mais mon coeur veille
9. IX. Regard de l'Eglise d'amour

Yvonne Loriod (Piano)

Ape-226 MB+ scans

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Messiaen Warner Edition Vol. 6 (Yvonne Loriod, 2005)

2011-02-09T15:19:00.000-06:00

Vingt Regards sur l'Enfant-Jésus (I-XI) (1944)
for piano

1. I. Regard du Père
2. II. Regard de l'étoile
3. III. L'échange
4. IV. Regard de la Vierge
5. V. Regard du Fils sur le Fils
6. VI. Par Lui a été fait
7. VII. Regard de la Croix
8. VIII. Regard des hauteurs
9. IX. Regard du Temps
10. X. Regard de l'Esprit de joie
11. XI. Première communion de la Vierge

Yvonne Loriod (Piano)

Ape-215MB+ scans

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Messiaen Warner Edition Vol. 5 (2005)

2011-02-09T15:07:00.000-06:00

Visions de l'Amen (1943)
for two pianos

1. I. Amen de la Création
2. II. Amen des étoiles, de la planète à l'anneau
3. III. Amen de l'Agonie de Jesus
4. IV: Amen du Désir
5. V. Amen des Anges, des Saints, du chant des oiseaux
6. VI. Amen du Jugement
7. VII. Amen de la Consommation

Katia & Marielle Labèque (Pianos)

8. Les Offrandes oubliées (1930)
Méditation symphonique

9.Hymne au Saint Sacrement (1932)
for large orchestre

ORTF Philharmonic Orchestra
Marius Constant

Ape-266.5 MB+ scans

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Messiaen Warner Edition Vol. 4 (2005)

2011-02-09T00:53:00.000-06:00

Quatuor pour la fin du Temps (1940-41)

1. I. Liturgie de cristal
2. II. Vocalise pour l'Ange qui announce la fin du Temps
3. III. Abîme des oiseaux
4. IV. Intermède
5. V. Louange á l'Éternité de Jésus
6. VI. Danse de la fureur, pour les sept trompettes
7. VII. Fouilles d'arcs-en-ciel, pour l'ange qui announce la fin du Temps
8. VIII. Louange à L'Immortalité de Jésus

Cinq Rechants (1948)
pour 12 parties vocales réelles

9. I. hayo kapritama
10. II. ma premiere fois terre terre l'eventail deploye
11. III. ma robe d'amour mon amour
12. IV. niokhama palalan souki
13. V. mayoma kalimolimo

Ape-238.5 MB+scans

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Messiaen Warner Edition Vol. 3 (Maria Oràn - Yvonne Loriod, 2005)

2011-02-08T21:47:00.001-06:00

Poèmes pour Mi (1936)

Premier Livre
1. I. Action des grâces
2. II. Paysages
3. III. La maison
4. IV. Epouvante
Duexième Livre
5. V. L'épose
6. VI. Ta voix
7. VII. Les deux guerriers
8. VIII. Le collier
9. IX. Prière exaucée

Chants de terre et de ciel (1938)

10. I. Bail avec Mi
11. II. Antienne du silence
12. III. Danse du bébé Pilule
13. IV. Arc-en-ciel d'innocence
14. V. Minuit pile et face
15. VI. Résurrection

Maria Orán (Soprano), Yvonne Loriod (Piano)

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Messiaen Warner Edition Vol. 2 (Marie-Claire Alain, 2005)

2011-02-08T19:40:00.000-06:00

La Nativité du Seigneur (1935)

1. La vierge et l'enfant
2. Les bergers
3. Desseins éternels
4. Le verbe
5. Les enfants de Dieu
6. Les anges
7. Jésus accepte la souffrance
8. Les mages
9. Dieu parmi nous

10. Le Banquet céleste (1938)

11. Apparition de l'église éternelle (1922)

Marie-Claire Alain (Organ)

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Messiaen Warner Edition Vol. 1 (Yvonne Loriod, 2005)

2011-02-08T18:30:00.000-06:00

Petites esquisses d'oiseaux (1985)
1. Le rouge-gorge
2. Le merle-noir
3. Le Rouge-gorge
4. La Grive musicienne
5. Le rouge-gorge
6. L'alouette des champs

Préludes (1828-29)
7. I. La colombe
8. II. Chants d'extase dans un paysage triste
9. III. Le nombre léger
10. IV. Instants défunts
11. V. Les sons impalpables du rêve
12. VI. Cloches d'angoisse et larmes d'adieu
13. VII. Plainte calme
14. VIII. Un reflet dans le vent

Quatre Études de rythme (1949-50)
15. I. Île de feu I
16. II. Mode de valeurs et d'intensités
17. III. Neumes rythmiques
18. IV. Île de feu II

Yvonne Loriod (Piano)

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American Minimal Music, By Wim Mertens (PDF)

2011-02-06T15:27:00.006-06:00

Wim Merten's American Minimal Music deals in depth with the school of American repetitive music which is more popularly known as "minimal music". Mertens discusses in detail the work of La Monte Young, Terry Riley, Steve Reich and Philip Glass and places them in the tradition of Western music. Minimal music thus emerges as the latest stage in a development leading from Schoenberg, Webern, Stockhausen and Cage. Considering the philosophical thinking of Deleuze and Lyotard, the representatives of the so-called French "libidinal philosophy", and of Adorno, American Minimal Music examines the degree to which the "ecstatic dimension" is present in this music, or is even consciously introduced into it. American Minimal Music is an important and insightful contribution to every music studies library shelf. -- Midwest Book Review

Contents
Preface 7
Part 1: American Minimal Music 11
The Composers and their works 19
La Monte Young 19
'Terry Riley 35
Steve Reich 47
Philip Glass 67
Basic concepts of minimal music 87
Part 2: The historical development of basic concepts
Arnold Schocnbcrg 96
Wehern and post-serialism 99
Stockhausen 101
John Cage 104
Part 3: Ideology
T. W. Adorno I 14
Libidinal phiíosophy 118
Bibliography 12ó
Acknowledgements 128

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Aaron Copland: The Complete Music for Solo Piano, Leo Smit (1994).

2011-01-26T12:40:00.008-06:00

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Si existe una música que encarne la alegría de vivir en democracia, esa es la música de Aaron Copland.
Asi como las composiciones de Galina Ustvolskaya, de Arvo Part y de Gorecki, son portadoras del dolor inmenso de vivir bajo el totalitarismo, en Copland encontramos el espíritu de una época --ya bien enterrada por la historia--en la que Norteamérica era tierra de hombres libres, que luchaban por mas igualdad y mas justicia.
Ese recorrido histórico-creativo de Copland está recogido por su amigo y pianista Leo Smit, quien grabo estas tomas en 1978 y regreso con inéditos de Copland en 1993 para reunir esta esplendida obra completa para piano solo.

Leo Smit has done more than just give us a complete collection of the piano music of Aaron Copland. In doing so, he has also given us a sizeable record of Copland's growth as a composer stretching from the angry tones of the Passacaglia and the Piano Variations, to the majestic and sometimes poetic Piano Fantasy, and beyond. The two CD's also showcase Copland in his many moods, sometimes light hearted and fun as in the Scherzo Humoristique and the second movement of the Piano Sonata, or sometimes nostalgic as in Down a Country Lane or the third movement of the Piano Sonata. This is a must-have for all Copland fans. Amazon

1.- The Cat and the Mouse, scherzo humoristique for piano
2.- Piano Variations
3.- In Evening Air, for piano (arr. from film "The Cummington Story)
4.- Passacaglia, for piano
5.- Piano Sonata
6.- Midday Thoughts, for piano (completed by Peekskill, 1962)
7.- Proclamation, for piano (completed by Peerskill 1982; also arr. for orch. by Ramey)
8.- Moods (3), for piano
9.- Petit Portrait (ABE), for piano
10.- Sentimental Melody (Slow Dance), for piano
11.- Piano Fantasy
12.- Piano Blues (4)
13.- Midsummer Nocturne, for piano
14.- Children's Pieces (2), for piano
15.- Down a Country Lane, for piano (or school orchestra)
16.- Night Thoughts--Hommage to Ives. for piano

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Alfred Schnittke – The Ten Symphonies (2009)

2011-01-21T12:46:00.002-06:00

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Las 10 sinfonias de Schnittke en la nueva edicion de BIS que reune a la Royal Stockholm Philharmonic Orchestra, BBC National Orchestra of Wales, Gothenburg Symphony Orchestra, Norrköping Symphony Orchestra y Cape Philharmonic Orchestra bajo la direccion de Leif Segerstam, Eri Klas, Tadaaki Otaka, Okka Kamu, Neeme Järvi, y Owain Arwel Hughes.

6 CD BOX-SET, -FLAC-1.54 Gb

Disc 1.- Symphony No. 1
Carl-Axel Dominique – Piano/Jazz Improvisation
Ben Kallenberg – Violin/Jazz Improvisation
Åke Lännerholm – Trombone
Royal Stockholm Philharmonic Orchestra, Leif Segerstam, conductor

Disc 2.- Symphony No.2, St. Florian.
Mikael Bellini – Counter-tenor
Göran Eliasson – Tenor
Malena Ernman – Alto
Torkel Borelius – Bass
Mikaeli Chamber Choir, Anders Aby, chorus-master
Royal Stockholm Philharmonic Orchestra, Leif Segerstam, conductor

Disc 3.- Symphonies No. 3. & 7
Symphony No. 3: Royal Stockholm Philharmonic Orchestra, Eri Klas, conductor
Symphony No. 7:BBC National Orchestra of Wales, Tadaaki Otaka, conductor

Disc 4.-Symphony No. 4 & Concerto Grosso No. 4,
Symphony No. 4:
Stefan Parkman – Tenor
Mikael Bellini – Couner-tenor
Lucia Negro – Piano
Academy Chamber Choir of Uppsala, Stefan Parkman, chorus-master
Stockholm Sinfonietta, Okka Kamu, conductor
Concerto Grosso No. 4:
Gothenburg Symphony Orchestra, Neeme Järvi, conductor

Disc 5.-Symphonies Nos. 6 & 8
Symphony No. 6:
BBC National Orchestra of Wales, Tadaaki Otaka, conductor
Symphony No. 8:
Norrköping Symphony Orchestra, Lü Jia, conductor

Disc 6.-Symphonies Nos. 0 & 9
Symphony No. 0:
Cape Philharmonic Orchestra, Owain Arwel Hughes, conductor
Symphony No. 9:
Cape Philharmonic Orchestra, Owain Arwel Hughes, conductor

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A Schnittke Reader (PDF).

2011-01-21T12:00:00.002-06:00

A treasury of the composer's writings--many never before published, even in Russian. Here Schnittke speaks of his life, his works, and a broad range of topics in 20th-century composition, performance, and other arts.

"I have read all of Alfred's articles with enormous interest and enjoyment... [He] had such a profound insight into the music of other composers, and ... he found in it so many regular features that were hidden from others." --from the foreword by Mstislav Rostropovich

"This collection of writings by or about Alfred Schnittke, including many previously unpublished, is a major contribution to our understanding of the most important Russian composer of recent times."--Classical Music, 4 January 2003

C O N T E N T S

Foreword by Mstislav Rostropovich / vii
Translator’s Note / xi Introduction / xiii
Chronology / xvii I.

SCHNITTKE SPEAKS ABOUT HIMSELF 1
1. From Conversations with Alexander Ivashkin (1985–1994) / 3
II. SCHNITTKE ON THE LENIN PRIZE 39
2. Letter to the Lenin Prize Committee (1990) / 41
III. SCHNITTKE ON HIS OWN COMPOSITIONS 43
3. On Concerto Grosso No. 1 (late 1970s) / 45
4. On the Fourth Symphony (1984) / 47
5. On Film and Film Music (1972, 1984, 1989) / 49
6. On Staging Tchaikovsky’s The Queen of Spades (1977) / 53
IV. SCHNITTKE ON CREATIVE ARTISTS 57
Composers
7.On Shostakovich: Circles of Influence (1975) / 59
8. On Prokofiev (1990) / 61
9. On Gubaidulina (1970s) / 67
10. On Kancheli (1982, 1991) / 68
11. In Memory of Filip Moiseevich Gershkovich (1988) / 70
Performers
12. On Sviatoslav Richter (1985) / 72
13. On Gennadi Rozhdestvensky (1991) / 75
14. Subjective Notes on an Objective Performance (on Alexei Liubimov) (1973) / 79
A Writer 15.
On Viktor Yerofeev (1988) / 83
A Painter 16.
On the Paintings of Vladimir Yankilevsky (1987) / 84
V. SCHNITTKE ON TWENTIETH-CENTURY MUSIC 85
17. Polystylistic Tendencies in Modern Music (c. 1971) / 87
18. The Orchestra and the New Music (early 1970s) / 91
19. The Problem of Giving Outward Expression to a New Idea (1982) / 94
20. From Schnittke’s Archive (1970s and 1980s) / 98
21. On Jazz (1984) / 100
22. Timbral Relationships and Their Functional Use: The Timbral Scale (1970s) / 101
23. Klangfarbenmelodie—“Melody of Timbres” (1970s) / 113
24. Functional Variability of Line in Orchestral Texture (1970s) / 120
25. A New Approach to Composition: The Statistical Method (1970s) / 125
26. Stereophonic Tendencies in Modern Orchestral Thinking (1970s) / 131
27. Using Rhythm to Overcome Meter (1970s) / 140
28. Static Form: A New Conception of Time (1970s) / 147
29. Paradox as a Feature of Stravinsky’s Musical Logic (1973) / 151
30. Timbral Modulations in Bartók’s Music for Strings, Percussion, and Celesta (1970s) / 201
31. The Principle of Uninterrupted Timbral Affinities in Webern’s Orchestration of Bach’s Fuga (Ricercata) a 6 voci (1970s) / 211
32. The Third Movement of Berio’s Sinfonia: Stylistic Counterpoint, Thematic and Formal Unity in Context of Polystylistics, Broadening the Concept of Thematicism (1970s) / 216
33. Ligeti’s Orchestral Micropolyphony (1970s) / 225
VI. SCHNITTKE AS SEEN BY OTHERS 229
34. Gidon Kremer (1989) / 231
35. Gennadi Rozhdestvensky (1989) / 236
36. Vladimir Yankilevsky (1989) / 240
37. Mstislav Rostropovich (1990) / 247
38. Mark Lubotsky (1998) / 248
Index of Names and Titles / 257

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Twentieth-Century Chamber Music, By James McCalla (PDF).

2011-01-20T12:00:00.000-06:00

Twentieth-Century Chamber Music, By James McCalla Routledge, Studies in Musical Genres collection | English | 2003-08-22 | 320 pages | PDF | 5,2 MB

20th-Century Chamber Music features an introduction giving a chronological overview of 20th-century chamber music and the major composers in the style, setting in context the following chapters that cover a wide selection of chamber works grouped thematically, including program music; vocal chamber music; works for new ensembles; the modern sonata; and contemporary string quartets. Composers covered range from Schoenberg and Bartok to Toru Takemitsu and George Crumb. The book is ideal for a course focussing on the history of chamber music or a unit in a 20th-century music on the chamber works of the era. Plus, students and scholars will find it an excellent resource summarizing current research.

Contents
Preface vi
Prelude: A Historical Introduction ix
1.Twentieth-Century Chamber Music: An Introduction 1
2. Music and Literature I: Program Music 31
3. Music and Literature II: Vocal Chamber Music 52
4. New Ensembles, New Works 88
5. The Modern Sonata 142
6. The String Quartet 168
Selected Bibliography 242
Index 255

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Luigi Nono, Al gran sole carico d´amore

2011-01-16T21:40:00.000-06:00

En esta entrega compartimos una de las obras que mejor encierran el espíritu del siglo XX: Al gran sole carico d´amore (In the Bright Sunshine Heavy with Love, En el Brillante Sol Cargado de Amor), obra de Luigi Nono que se desdobla en una ruptura radical con el pasado de la tradición operística y en una búsqueda de un nuevo modo de expresión que se llamara "azione scenica", y que renuncia a contar una historia, a ubicar la narrativa en un espacio y a presentar una obra que se reduce al teatro musical.

Por contra, Luigi Nono nos propone un collage de múltiples historias, presentadas como aparición de noticias, textos, poemas, canciones políticas, citas y testimonios.

En esta propuesta innovadora. la historia del drama se convierte en la Historia del Mundo, el teatro deviene instrumento de conciencia y el centro de la representación son los problemas del presente.

Quizá el valor inmenso de Al gran sole carico d´amore reside en recordarnos como pudo haber sido la Historia, si los militantes como Nono, hubiesen sido mayoría en el PCI, si ese PCI se hubiese replicado en todos los países industrializados y la URSS y China se hubiesen democratizado desde dentro.

El brillante sol..., fue un sueño posible, que se desvaneció --como todas las promesas del siglo pasado--en las miserias de la condición humana.

***

Grabación en vivo (1998), dirección de Lothar Zagrosek, Staatsorchester & Staatsopernchor Stuttgart.

2 CD-FLAC-229.8 MB+201MB+SCANS

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Szymanowski: Symphony No. 3, 'Song of the Night' / Violin Concerto No. 1-Pierre Boulez (2010)

2011-01-04T13:19:00.000-06:00

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El disco mas reciente de Pierre Boulez nos entrega dos piezas del compositor Polaco Karol Szymanowski, con el sonido de la Vienna Philharmonic Orchestra y el violín de Christian Tetzlaff.

El registro de Deutsche Grammophon incluye una conversación de Andrew Clements con Boulez en la que explica las razones de su incursión en la obra del autor Polaco.

Pierre Boulez honors singular Polish composer Karol Szymanowski by recording - live - the Violin Concerto no. 1 and the Symphony no. 3 "Song of the Night". Violin virtuoso Christian Tetzlaff and the Vienna Philharmonic are peerless participants. The two orchestral works are the high-water mark of Szymanowski's impressionism, an idiom mingling the refined sonorities of Debussy, Ravel, and late Scriabin with the impassioned Romanticism of the New German School.

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Yo-Yo Ma: A Biography, By Jim Whiting (PDF)

2011-01-02T12:23:00.003-06:00

Yo-Yo Ma: A Biography, By Jim Whiting.
Publisher: Greenwood | 2008-08-30 | ISBN: 0313344868 | PDF | 192 pages | 2.72 MB

A musician of rare artistry, the self-effacing yet charismatic Yo-Yo Ma connects with his audiences with startling effectiveness. He remains devoted to the classical repertoire yet has long roved far beyond the Western classical music canon. Despite his real superstar status and thriving solo career, he has often sought out musicians outside the classical sphere and collaborated with them on fascinating recordings. Above all, he is committed to the ever-evolving musical odyssey of his Silk Road Ensemble, itself part of a broader Silk Road Project aiming to explore the deep and varied artistic connections between East and West. Ma's legions of admirers seek out his musical genius in his recordings. Here they can become acquainted with the energetic and charming Ma himself and trace the trajectory of his unique and distinguished career.

CONTENTS
Series Foreword vii
Introduction ix
Timeline: Events in the Life of Yo-Yo Ma xi
Chapter 1 Love and War 1
Chapter 2 “I Want the Big Instrument” 9
Chapter 3 Yo-Yo Gets a “Big Little Viola” 17
Chapter 4 A New Life in New York 25
Chapter 5 High School and High Anxiety 35
Chapter 6 Learning of Love and Love of Learning 47
Chapter 7 Cast-Clad, Becoming a Dad, and a New Strad 57
Chapter 8 Manny, Grammy, and in the ’Hood with Mr. Rogers 69
Chapter 9 A Jazz Legend and Farewell to a Father 81
Chapter 10 Hush and Happiness in Small Groups 89
Chapter 11 America Meets Africa 95
Chapter 12 The Free-Range Cellist 99
Chapter 13 Yo-Yo Ma and the Suite Life 109
Chapter 14 Bach—Up Close and Personal 121
Chapter 15 Die Seidenstrasse 131
Chapter 16 Crossing Over 141
Chapter 17 Getting Up To Speed on the Silk Road 149
Chapter 18 The Beat Goes On … and On … and On 157
Selected Bibliography 165
Index 175
Photo essay 181

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at 1000 classical Music Books.

Ives: Concord Sonata: Piano Sonata No. 2, by Geoffrey Holden Block

2010-12-28T09:55:00.005-06:00

Ives: Concord Sonata: Piano Sonata No. 2, by Geoffrey Holden Block
Cambridge University Press | 126 pages | English | 1996 | ISBN: 052149656X | PDF | 2,5 MB

Charles Ives' massive Concord Sonata, his second sonata for piano, named after the town of Concord in Massachusetts, is central to his output and clearly reflects his aesthetic perspective. Geoffrey Block's wide-ranging account of the work thus provides an ideal introduction to this fascinating composer. This handbook discusses the Sonata's reception history and its compositional genesis, as well as providing a detailed account of the work's thematic content, its use of borrowed material, and the degree to which the program is influenced by the Concord Transcendentalists.

Contents
List of musical examples ix
Acknowledgements x
1 Introduction 1
2 Reception 7
Critical responses 1920—1938 7
1939 and after 7
3 Genesis 20
Ives's chronology 22
Ives's chronology cross-examined 25
A revised genesis 25
The two Concords 27
4 Form and design 31
Motivic fabric 32
Tonal characteristics 41
Form 42
5 Borrowing 47
Borrowings: Ives, Cowell, and Kirkpatrick 48
Later discoveries of Ives borrowings 53
Other hypothetical borrowings 55
Musical borrowings in the Concord Sonata 61
6 The program 65
Ives and programmaticism 65
"Emerson" 69
"Hawthorne" 72
"The Alcotts" 74
"Thoreau" 75
Appendix I: Concord Sonata themes 80
Appendix II: Formal and thematic outline 85
Notes 87
Select bibliography 107
Index 110

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Stravinsky: Oedipus Rex, by Stephen Walsh (PDF)

2010-12-24T13:35:00.003-06:00

Stravinsky: Oedipus Rex, by Stephen Walsh Cambridge University Press | 132 pages | English | 1993 | ISBN: 0521404312 | PDF | 2,9 MB

Stravinsky's Oedipus Rex is widely acknowledged as one of the most original musical theater works of the twentieth century. This clear and concise guide, the first ever written on the work, describes the plot, the music and the staging in close detail and provides a fully documented discussion of the origins of Oedipus Rex in Stravinsky's own work and thinking. By placing the work in its social context, the author paints a vivid picture of Parisian artistic politics in the twenties, from which emerged one of the richest and most suggestive works of modern times. The full libretto is provided, with a parallel translation.

Contents
Preface page ix
List of abbreviations xi
1 The exile finds a new home 1
2 Of masks, masses and magic 11
3 In which the music unfolds 23
4 How it all came to be known 67
Appendix A The libretto 79
Appendix B The Latin text and its setting 92
Appendix C Cast and orchestra 96
Notes 99
Select bibliography 111
Index 114

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Galina Ustvolskaya - Piano Sonatas 1-6, Marianne Schroeder (1995)

2010-12-15T15:05:00.002-06:00

Free downloading. Descarga gratuita. Las poderosas sonatas para piano de Galina Ustvolskaya ejecutadas por Marianne Schroeder, en una edicion del sello hatART, grabado en Febrero-Marzo de 1994 y distribuido en 1995.

Each of Ustvolskaya’s “Six Sonatas” — sonatas with no name — hammers into life a physiognomy of darkness. Were there darker provinces of the night, and Galina’s sonatas would thereby resonate.

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Musik in Deutschland 1950-2000 - Konzerte 1985-2000 (2004)

2010-12-10T11:24:00.005-06:00

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Quinta y ultima entrega del recuento de la musica alemana gestada durante los ultimos cincuenta años del siglo XX. cinco volumenes parte de la extensisima serie Musik in Deutschland editada por RCA.

Even before the reunification of Germany the two musical cultures were no longer clearly separate and distinct. In the early 1980s both parts of Germany witnessed the advent of a stylistic pluralism that absorbed old and new musical developments alike and blunted the dichotomy between "avant-garde" and "New Simplicity." These events also had an impact on the concerto, which was either called into question as a genre or shown to possess previously unimagined potential.

Musik in Deutschland 1950-2000 - Konzerte 1985-2000 (2004)

Tracklist:
Reiner Bredemeyer (1929-1995)
1-4. Horn-Konzert (1986) 10'24
Sebastian Weigle, Horn
Staatskapelle Berlin
Leitung: Herbert Kegel

Hans Jürgen von Bose (1953)
5. Other echoes inhabit the garden - Musik für Oboe und Orchester (1987) 23'14
Burkhard Glaetzner, Oboe
SWR Sinfonieorchester Baden-Baden und Freiburg
Leitung: Michael Gielen

Volker David Kirchner (1942)
6. Schibboleth - poème concertante für Viola und Orchester (1989) Länge: 9'53
Tabea Zimmermann, Viola
Junges Philharmonisches Orchester Stuttgart
Leitung: Manfred Schreier

Steffen Schleiermacher (1960)
7. Keil für Saxophon und Orchester (1998) 19'37
Johannes Ernst, Sopran-, Tenor-, Alt- und Bariton-Saxophon
MDR-Kammerphilharmonie
Leitung: Peter Hirsch

Isabel Mundry (1963)
8-10. Ferne Nähe für Streichquartett und Orchestergruppen (2000/2001) 10'09
Arditti String Quartet
Rundfunk-Sinfonieorchester Berlin
Leitung: Arturo Tamayo

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Musik in Deutschland 1950-2000 - Konzerte 1960-1970 (2004)

2010-11-29T12:38:00.004-06:00

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Cuarta entrega del recuento de la musica alemana gestada durante los ultimos cincuenta años del siglo XX. cinco volumenes parte de la extensisima serie Musik in Deutschland editada por RCA.

The 1960s witnessed a proliferation of richly-scored concertos in both West and East Germany. As the predominance of serialism gave way in the West, the importance of the genre grew accordingly. In the East, where the emphasis fell on its identity as "autonomous art," the concerto offered composers an opportunity, at least indirectly, to escape the strictures of "socialist realism." Paradoxically, after the erection of the Berlin Wall, the music of the two Germanies began cautiously to approach each other in spirit, if not in compositional technique.

Musik in Deutschland 1950-2000 - Konzerte 1960-1970 (2004)

Tracklist:
Jürg Baur
Concerto Romano für Oboe und Orchester (1960)
1. Mosaik
2. Zikaden
Ruth Zechlin
Violinkonzert (1963)
3. Allegro Moderato
4. Aria: Andante
György Ligeti
Konzert für Violoncello und Orchester (1966)
5. Satz: Viertel = 40 - Attaca
6. Satz: Lo Stesso Tempo
Helmut Lachenmann
7. Air - Musik für großes Orchester und Schlagzeug-Solo (1968-69)
Gerhard Rosenfeld
Konzert für Klavier und Orchester (1969-70)
8. Largo - Allegro Assai - Largo
9. Adagio
10. Allegro

Jürg Baur (1918)
Concerto romano für Oboe und Orchester (1960)
Länge: 11'48
Manfred Zeh, Oboe
NDR-Sinfonieorchester
Leitung: Reinhard Peters
Eine Aufnahme des Norddeutschen Rundfunks, 24.6.1963, Studio
© Breitkopf & Härtel

Ruth Zechlin (1926)
Violinkonzert 1963
Länge: 12'20
Egon Morbitzer, Violine
Staatskapelle Berlin
Leitung: Heinz Fricke
Lizenziert durch Deutsches Rundfunkarchiv
Aufnahme: 2.1.1964, Berlin
© Deutscher Verlag für Musik/Breitkopf & Härtel

György Ligeti (1923)
Konzert für Violoncello und Orchester (1966)
Länge: 15'17
Siegfried Palm, Violoncello
Radio-Symphonie-Orchester Berlin
Leitung: Henryk Czyz
Eine Aufnahme des RBB, ehemals Sender Freies Berlin, Mitschnitt der Uraufführung 19.4.1967, Berlin
© C. F. Peters/Henry Litolff's Verlag Frankfurt/Main

Helmut Lachenmann (1935)
Air - Musik für großes Orchester und Schlagzeug-Solo (1968-69)
Länge: 19'17
Michael Ranta, Schlagzeug
Radio-Sinfonie-Orchester Frankfurt
Leitung: Lukas Foss
Eine Aufnahme des Hessischen Rundfunks, Mitschnitt der Uraufführung 7.1.1969
© Breitkopf & Härtel

Gerhard Rosenfeld (1931-2003)
Konzert für Klavier und Orchester (1969-70) Länge: 20'15
Peter Rösel, Klavier
Rundfunk-Sinfonieorchester Berlin
Leitung: Heinz Fricke
Lizenziert durch Deutsches Rundfunkarchiv
Aufnahme: 18./19.6.1970, Berlin
© C. F. Peters/Henry Litolff's Verlag Frankfurt/Main

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Musik in Deutschland 1950-2000 - Konzerte 1950-1960 (2004)

2010-11-19T09:51:00.004-06:00

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Tercera entrega del recuento de la musica alemana gestada durante los ultimos cincuenta años del siglo XX. cinco volumenes parte de la extensisima serie Musik in Deutschland editada por RCA.

Whether under the banner of serialism in the Federal Republic or "socialist realism" in East Germany, the concerto was not one of the preferred genres. Nevertheless, a large number concertos were written in the 1950s. In the West, besides the young "avant-gardists," many middle-aged and older composers were still active. In the East, the genre made it possible, consciously or not, to avoid ideological straitjackets. The works themselves reflect the full spectrum between breakaway novelty and close ties to tradition.

Musik in Deutschland 1950-2000 - Konzerte 1950-1960 (2004)

Tracklist:
Johann Cilensek
Konzert für Klavier und Orchester (1950)
1. Moderato
2. Andante Molto Sostenuto Fidelio F. Finke
3. Capriccio über ein Polnisches Volkslied für Klavier und Orchester (1951) Rolf Liebermann
4.Concerto For Jazz Band And Symphony Orchestra (1954)
Bernd Alois Zimmermann
5. Nobody Knows De Trouble I See - Konzert für Trompete und Orchester (1954)
Giselher Klebe Konzert für Violoncello und Orchester (1957)
6. Satz: Fantasie und Kanon
7. Satz: Variationen

Johann Cilenšek (1913-1998)
Konzert für Klavier und Orchester (1950)
Länge: 18'11
Dieter Zechlin, Klavier
Rundfunk-Sinfonieorchester Leipzig
Leitung: Franz Konwitschny
Lizenziert durch Deutsches Rundfunkarchiv Aufnahme: 17.12.1951, Leipzig
© Deutscher Verlag für Musik/Breitkopf & Härtel

Fidelius F. Finke (1891-1968)
Capriccio über ein polnisches Volkslied für Klavier und Orchester (1951)
Länge: 12'06 Rolf-Dieter Arens, Klavier
Großes Rundfunkorchester Berlin
Leitung: Robert Hanell
Lizenziert durch Deutsches Rundfunkarchiv Aufnahme: 8.7.1983, Berlin
© Deutscher Verlag für Musik/Breitkopf & Härtel

Rolf Liebermann (1910-1999)
Concerto for Jazzband and Symphony Orchestra (1954)
Länge: 16'48
Solisten des Orchesters Kurt Edelhagen
Franz von Klenck, Altsaxophon
Heinz Hermannsdörfer, Posaune
Hans Wilfert, Trompete
Werner Drexler, Klavier
SWR Sinfonieorchester Baden-Baden und Freiburg
Leitung: Hans Rosbaud
Aufnahme des Südwestrundfunks, Stuttgart, Germany, Mitschnitt der Uraufführung 17.10.1954, Donaueschinger Musiktage
licensed by col legno WWE 12 CD 31899
© Universal Edition Zürich

Bernd Alois Zimmermann (1918-1970)
Nobody knows de trouble I see – Konzert für Trompete und Orchester (1954)
Länge: 13'56
Gert Fischer, Trompete
Rundfunk-Sinfonieorchester Leipzig
Leitung: Jörg Peter Weigle Lizenziert durch Deutsches Rundfunkarchiv Aufnahme: 7.4.1987, Gewandhaus zu Leipzig
© Schott Musik International Mainz

Giselher Klebe (1925)
Konzert für Violoncello und Orchester (1957)
3. Satz: Fantasie und Kanon
4. Satz: Variationen
Länge: 15'16
Arthur Troester, Violoncello
NDR-Sinfonieorchester
Leitung: Jean Martinon
Eine Aufnahme des Norddeutschen Rundfunks, Mitschnitt der Uraufführung 19.5.1958, Studio Hamburg
© Boosey & Hawkes . Bote & Bock GmbH & CO., Berlin

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Musik in Deutschland 1950-2000 - Konzerte: Stücke für Ensemble (2004)

2010-11-13T16:02:00.004-06:00

Free download. Descarga gratuita. Segunda entrega del recuento de la musica alemana gestada durante los ultimos cincuenta años del siglo XX. cinco volumenes parte de la extensisima serie Musik in Deutschland editada por RCA.

Chamber Concerto The notion of ensemble playing was fundamentally redefined by composers in both East and West Germany through innovative ways of organizing the musical material. One of these radical new approaches is embodied in the chamber concerto, a volte-face from the symphonic scale of the standard concerto, but with a clear division into solo and tutti roles and ever-closer ties to free ensemble music.

Musik in Deutschland 1950-2000 - Konzerte: Stücke für Ensemble (2004)
Tracklist:
Karl Amadeus Hartmann (1905-1963)
1. Konzert für Bratsche mit Klavier, begleitet von Bläsern und Schlagzeug (1954/56) 9'50
- 1. Satz: Rondo
Tatjana Masurenko, Viola
Frank-Immo Zichner, Klavier
Mitglieder des Rundfunk-Sinfonieorchesters Berlin
Leitung: Marek Janowski

Wolfgang Rihm (1952)
2-4. Konzert für Klavier und 8 Instrumente (1969) 5'25
Cornelia Menke-Gengenbach,
Klavier Ensemble musica viva Karlsruhe
Leitung: Norbert Krupp

Georg Katzer (1935)
5-13. Konzert für Cembalo und Bläserquintett (1977-78) 17'47
Bernd Casper, Cembalo
Bläservereinigung Berlin

Reinhard Wolschina (1952)
14-16. Klangspiele I für Flöte und 18 Instrumente (1987) 13'07
Joy Dutt, Flöte
Mitglieder des Rundfunk-Sinfonieorchesters Berlin
Leitung: Hans-E. Zimmer

Bernd Franke (1959)
17. Seasons of Light für Fagott und Ensemble (1994) 17'55
David Petersen, Fagott
Gewandhausoktett

Enno Poppe (1969)
18. Holz für Klarinette und kleines Ensemble (1999-2000) 11'06
Christian Vogel,
Klarinette Ensemble Mosaik
Leitung: Enno Poppe

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Musik in Deutschland 1950-2000, Masse und Individuum (2004)

2010-11-04T13:41:00.005-06:00

Free download. Descarga gratuita. En esta entrega iniciamos un recuento de la musica alemana gestada durante los ultimos cincuenta años del siglo XX. Se trata de una seleccion de cinco volumenes de la extensisima serie Musik in Deutschland editada por RCA, seleccion que reune:
1.- Musik in Deutschland 1950-2000, Masse und Individuum (2004)
2.- Musik in Deutschland 1950-2000 - Konzerte: Stücke für Ensemble (2004)
3.-Musik in Deutschland 1950-2000 - Konzerte 1950-1960 (2004)
4.-Musik in Deutschland 1950-2000 - Konzerte 1960-1970 (2004)
5.-Musik in Deutschland 1950-2000 - Konzerte 1985-2000 (2004)

The term "mass" has been en vogue in the timbral compositions of the experimental avant-garde since the 1960s. After being explored in orchestral music, the composition of sound-masses was transferred to the concerto. Composers in both parts of Germany now placed a premium on the conflict between soloist and orchestra, with the orchestra using instruments in the conventional way while the soloist upheld the banner of the avant-garde by employing experimental techniques

Musik in Deutschland 1950-2000 - Masse und Individuum (2004)
Tracklist:
Friedrich Goldmann (1941).
1. Konzert für Oboe und und Orchester (1977).
- 2. Satz. 18'26 Orchester der Komischen Oper.
Leitung: Friedrich Goldmann.

Hermann Keller (1945).
2. Konzert für Klavier und Orchester (1981). 25'36
Junge Deutsche Philharmonie.
Leitung:Heinz Holliger.

Vinko Globokar (1934).
3. Masse, Macht und Individuum für Orchester und 4 Instrumentalsolisten (1994-95)
- Ausschnitt 16'42
Magnus Andersson, Gitarre
Jean-Pierre Drouet, Schlagzeug
Stefano Scodanibbio, Kontrabass
SWR Sinfonieorchester Baden-Baden und Freiburg
Leitung: Michael Gielen

Rolf Riehm (1934)
4. Restoring the Death of Orpheus für Akkordeon und großes Orchester (2000)
- Zweiter Teil: Gesang (in vier Bildern) 20'25
Symphonieorchester des Bayerischen Rundfunks.
Leitung: Lothar Zagrosek

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John Adams, Hallelujah Junction: Composing an American Life

2010-10-15T14:10:00.005-05:00

John Adams, Hallelujah Junction: Composing an American Life Farrar, Straus and Giroux | 2008-09-30 | ISBN: 0374281157 | 352 pages | PDF | 7.5 Mb

John Adams is one of the most respected and loved of contemporary composers, and “he has won his eminence fair and square: he has aimed high, he has addressed life as it is lived now, and he has found a language that makes sense to a wide audience” (Alex Ross, The New Yorker). Now, in Hallelujah Junction, he incisively relates his life story, from his childhood to his early studies in classical composition amid the musical and social ferment of the 1960s, from his landmark minimalist innovations to his controversial “docu-operas.” Adams offers a no-holds-barred portrait of the rich musical scene of 1970s California, and of his contemporaries and colleagues, including John Cage, Steve Reich, and Philip Glass. He describes the process of writing, rehearsing, and performing his renowned works, as well as both the pleasures and the challenges of writing serious music in a country and a time largely preoccupied with pop culture. Hallelujah Junction is a thoughtful and original memoir that will appeal to both longtime Adams fans and newcomers to contemporary music. Not since Leonard Bernstein’s Findings has an eminent composer so candidly and accessibly explored his life and work. This searching self-portrait offers not only a glimpse into the work and world of one of our leading artists, but also an intimate look at one of the most exciting chapters in contemporary culture.

CONTENTS

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at 1000 classical Music Books.

Gidon Kremer - Mahler: Symphony No. 10; Shostakovich: Symphony No. 14 (2007)

2010-10-08T00:20:00.000-05:00

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Gidon Kremer dirige a la KREMERata Baltica en una lectura personal de Mahler y Shostakovich.
En estas grabaciones, realizadas para ECM en 2001 y 2004, Kremer seleccionó el adagio de la inconclusa decima sinfonía de Mahler para presentarla junto a la sinfonía no.14 de Shostakovich, con la intención manifiesta de subrayar las líneas de continuidad entre los dos más grandes sinfonistas del siglo XX.
Es una gran placer escuchar ambas obras de modo contiguo.

1. Symphony No. 10 - Adagio (arrangement: Hans Stadlmair and Kremerata Baltica) (25:46)
2. Symphony No. 14, Op. 135 - I. De Profundis: Adagio (4:49)
3. Symphony No. 14, Op. 135 - II. Malagueña: Allegretto (2:42)
4. Symphony No. 14, Op. 135 - III. Loreley: Allegro molto (9:10)
5. Symphony No. 14, Op. 135 - IV. The Suicide: Adagio (7:33)
6. Symphony No. 14, Op. 135 - V. On the Alert: Allegretto (3:07)
7. Symphony No. 14, Op. 135 - VI. Look, Madame: Adagio (2:15)
8. Symphony No. 14, Op. 135 - VII. At the Santé Jail: Adagio (8:49)
9. Symphony No. 14, Op. 135 - VIII. The Zaporozhian Cossacks' Answer to The Sultan of Constantinople: Allegro (2:02)
10. Symphony No. 14, Op. 135 - IX. O Delvig, Delvig!: Andante (4:07)
11. Symphony No. 14, Op. 135 - X. Death of the Poet: Largo (4:50)
12. Symphony No. 14, Op. 135 - XI. Conclusion: Moderato (1:16)

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Shostakovich: Sonatas 134 & 147-Gidon Kremer-Yuri Bashmet.

2010-09-23T21:55:00.000-05:00

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Shostakovich: Sonatas 134 & 147, Chamber arregment, World Premiere.

Gidon Kremer al violin, Yuri Bashmet a la viola, en grabaciones en vivo realizadas en Moscu (Violin Sonata) y San Petesburgo (viola sonata) en 2005. Los arreglos para sonido de camara fueron hechos, respectivamente por Michail Zinman y Andrei Pushkarev para la Violin Sonata en 2005 y Vladimir Mendelssohn en 1991-2, para la sonata de violin.Aqui su estreno mundial con la Kremerata Baltica.

So far as bringing Soviet oppression to an end, there was little hope in sight when Shostakovich wrote his two despairing sontas for violin and viola. Both are spare, often overlaid with agonizing melancholy, and their tonality is almost as dry as late Schoenberg. One has to listen to them with concentration to find musical depth, and even then I wonder if these aren't the products of a man lost in depression. Howeve the pieces will be judged, they are major late works, hard to listen to but undoubtedly authentic

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