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Search Result for Genre CLASSICAL
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DTRA 037LP
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Dirter launch a new subsidiary imprint, dedicated to releasing historical musical documents, DTR Archive Recordings. The first release is Igor Stravinsky conducting his masterpiece The Rite of Spring (Le Sacre du Printemps). Yes, it can be done -- wiping off the dust and polishing the sound for a new shine, whilst maintaining the integrity of the original recording. Painstaking steps were made to track the best possible audio down and get as close to the original as possible. Forget the dreadful, over-compressed CDs that we are all used to. Close your eyes and listen to this and you could be back, almost 100 years ago...
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3LP BOX
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MOVCL 056LP
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"Akhnaten is the third in the composer Philip Glass' trilogy of operas about men who changed the world in which they lived through the power of their ideas. Akhnaten's subject is religion. Its title was derived from the Egyptian pharaoh Akhnaten, who was the first monotheist in recorded story. His substitution of a one-god religion for the multi-god worship when he came to power ultimately resulted in his exclusion from lists of rulers compiled by later pharaohs, and his legacy became all but lost to history until the late 19th century. The opera describes the rise, reign, and fall of Akhnaten in a series of tableaus. 180 gram vinyl. Deluxe lift-off box set. Includes 16-page libretto booklet. The third in Glass' thematically related Portrait trilogy, along with Einstein On The Beach and Satyagraha."
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NEOS 12013CD
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The Donaueschinger Musiktage have been regularly documented by NEOS for many years. The 2019 edition begins with Mark Andre's sensitively heard sound spaces in "rwḥ 1 for ensemble and electronics". The Ensemble intercontemporain is represented with Johannes Boris Borowski's "Allein". A notable event at the Donaueschinger Musiktage 2019 was Eva Reiter's "Wächter" for double bass flutes and tube orchestra, played by the SWR Symphonieorchester without any classical musical instruments. From the full-length cycle "Poética del espacio" by Alberto Posadas, the final part Ojo del diablo made it into the selection, interpreted in an outstanding way by the Klangforum Wien.
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NEOS 12017CD
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Why should one still compose a piano concerto in 2020? Hasn't this leading genre of absolute music exhausted itself for decades? Gunnar Geisse's Piano Concerto, which is premiered on the present CD, definitely adds a new facet to the genre, not certain whether it continues or breaks the genre. Although the piano can be heard as a solo instrument, accompanied by a variety of orchestral instruments, only one instrument was actually played on this recording, which in turn is not a piano but an electric guitar. Geisse developed the "laptop guitar", an extension of his main instrument (the electric guitar) to include the computer, which enables him to continue playing analogue on a digital level. He uses the software-supported real-time conversion of audio to MIDI data to control virtual instruments and samplers. Geisse titled this album Triptych. The last "panel" in this triptych, rhythm changes, follows the two movements of the piano concerto. The work does not focus on a soloist-orchestral arrangement but on the laptop guitar itself. Instead of an imaginary orchestra, Geisse uses a series of sampled materials. Allusions to romanticism are replaced by insights into Charlie Parker's "Anthropology".
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NEOS 12028CD
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David Philip Hefti composed his second music theater work based on motives by Hans Christian Andersen: The Snow Queen. The plot centers upon the children Gerda and Kay, whose friendship is put to a severe test when Kay falls under the spell of the Snow Queen. Hefti's high-contrast music creates sometimes shimmering cold, sometimes cozy warmth; the icy Snow Queen -- outstandingly cast with Mojca Erdmann -- sounds "clear and transparent like frozen crystals" (Neue Zürcher Zeitung). The musical story for soprano, two speakers (Delia Mayer and Max Simonischek) and orchestra is aimed equally at children, young people and adults. The recording of the world premiere with the Tonhalle-Orchester Zürich under the direction of the composer is released on this CD. The 80-page booklet contains the German libretto as well as the English and French translations.
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NEOS 12015CD
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Ernst Helmuth Flammer's oratorio "Der Turmbau zu Babel" (The Tower of Babel) was commissioned for the 25th anniversary of the "Hanover New Music Days" in 1983. The world premiere took place under the direction of Klaus Bernbacher with excellent interpreters such as Catherine Gayer (soprano), Günter Binge (baritone), Theophil Maier (speaker), the Chor des Norddeutschen Rundfunks and the Nordwestdeutsche Philharmonie in the broadcasting hall of the NDR Hanover on January 29, 1983. Ernst Helmuth Flammer: "The oratorio is dedicated to all those who were forced to give up their lives in the struggle for freedom, justice and a dignified coexistence; all undaunted who accepted great personal sacrifices in following an unswerving moral path." "Der Turmbau zu Babel" is dedicated to Klaus Bernbacher. For three orchestral groups, three choirs, two solo voices (soprano and baritone), speaker, quadrophonic playback and live electronics, on texts by Friedrich Schiller, Arthur Schopenhauer, Friedrich Nietzsche, Richard Wagner, Niccolò Machiavelli, and Kurt Tucholsky.
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NEOS 12022CD
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With "Sangue Inverso - Inverso Sangue", the Portuguese composer Jaime Reis has created his own little cosmos: two times seven movements that can be performed separately, one after the other or at the same time. Despite very different tempos, moments of synchronization and coordination arise. The main idea behind this structure is the relationship between the individual and the collective, more precisely: the role of the individual regardless of his integration into the collective. The Ensemble Fractales presents nine different variations of the Sangue cycle -- both as individually as well as simultaneously played movements. Jaime Reis has dealt intensively with scientific topics. This is how the piano work "Lysozyme Synthesis" (Ana Telles, piano) became inspired by the process of protein synthesis, "Fluxus, Vortex - Schubkraft" (here in the acoustic version with the Aleph Gitarrenquartett) from the physical phenomenon of fluid mechanics.
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NEOS 12029CD
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The way Jim Franklin combines the traditional Japanese bamboo flute shakuhachi with modern live electronics is unique. In addition to the latest studio technology, synthesizers and various instruments are used, such as the theremin -- one of the oldest electronic instruments of all. The works themselves are semi-composed, structured improvisations: a pre-composed form in which the "signposts" and turning points are clearly defined, but the exact "route" through the piece is created anew with each performance. Despite all the complexity, Franklin recorded them alone, mostly in continuous takes. Songs from the Lake is, as the title suggests, inspired by water. Franklin is fascinated by images in nature where the overall form is more or less static, but the details are constantly changing. The Buddhist view of water as an image of the spirit is also important to him. Jim Franklin first studied composition and musicology in Australia, Germany and Holland. In 1986 he discovered the shakuhachi and learned the instrument from Dr. Riley Lee, Furuya Teruo, and Yokoyama Katsuya. In 1996 he received the title of Shihan (Master) from Yokoyama-sensei. From 2006 to 2009 he was founding chairman of the European Shakuhachi Society. In 2018 he was a main organizer of the World Shakuhachi Festival in London.
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NEOS 12104CD
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The program on this CD focuses on two essential aspects of Pierre Boulez's oeuvre: his love of theater and his consistent search for ways of spatializing sounds through electronics. In "Dialogue de l'ombre double" from 1985 it is still a pre-produced tape -- recorded by the interpreter himself -- which, together with the live sounds, symbolizes the clarinetist's "double shadow". In "Anthèmes 2", written around ten years later, the acoustic labyrinth in which the soloist finds herself is generated entirely by means of live electronics. The basic idea for this was already laid out in "Anthèmes 1" for solo violin, created in 1991 as a mandatory work for the Yehudi Menuhin competition. Pierre Boulez has worked with the SWR Experimental Studio since it was founded in the early 1970s. In this recording the instrumental parts were excellently cast with Carolin and Jörg Widmann.
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NEOS 12026CD
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When the composer Younghi Pagh-Paan came to Germany in the mid-1970s, she was at first deeply insecure about the gaping contradictions between Western culture and her Korean homeland. She drew a special creative force from it -- influences from both worlds are combined in her music to this day. The works that the Ensemble KNM Berlin and the soprano Angela Postweiler recorded here were created between 1977 and 2020 and thus offer a comprehensive view of Pagh-Paan's work. Among them, the three first recordings deserve special attention: ma-am (Mein Herz) for female solo and Mein Herz I for soprano and viola, as well as the string quartet Horizont auf hoher See. The production was created as part of the award of the Berlin Art Prize 2020 by the Akademie der Künste Berlin. Younghi Pagh-Paan was born in 1945 in Cheongju, in what is now South Korea. She came to Germany on a DAAD scholarship in 1974 to continue her studies with Klaus Huber at the Freiburg University of Music. With her orchestral piece Sori she attracted wide public attention at the Donaueschingen Festival 1980. After visiting professorships at the music universities in Graz and Karlsruhe, she was appointed professor of composition at the Bremen University of the Arts in 1994 -- the first woman in Germany. She received numerous international prices and resides und in Bremen and Panicale (Italy).
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NEOS 22002CD
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Debussy's "Trois Nocturnes", Wagner's "Tristan Prelude" and Brahms' "Piano Quintet", remixed and in a new guise. This is the metamorphosis of three instrumental masterpieces for the 176 keys of two concert grand pianos; a transformed aural perspective, which brings out compositional structures all the more clearly. In two-piano versions, these pieces are effectively reworked. With Brahms' "Sonata Op. 34b", this was undertaken in 1864 by the composer himself, adapting a string quintet he then withdrew, reinventing it as a piano quintet a year later. With Wagner and Debussy, it was Max Reger and Maurice Ravel who took on the task, surely in part as a mark of their esteem for these works and their authors. Cleverly devised programs are the trademark which distinguishes Andreas Grau and Götz Schumacher as one of the most internationally renowned piano duos. No other duo runs the gamut from Bach to music of the present day with such aplomb. Their profound and intimate ensemble playing manifests two musical kindred spirits, unleashing a broad spectrum of expressive potential which perfects the art of piano four hands.
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NEOS 12006CD
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Georg Friedrich Haas is regarded as today's foremost proponent of microtonal composition. But it is precisely these three works -- Ein Schattenspiel, the String Quartets Nos. 4 and 7 -- that show that Haas is actually less immersed in his musical material. Instead, he concentrates on the communicative aspects of music and composition, so as to greatly unsettle and even shock the listener's perception. Of course, microtonality and composition that makes use of the overtone series and overtone chords presents a challenge to the listener accustomed to a more conventional, traditional harmony. But Haas's composition focusses more on the physical experience of this kind of music. It would not be completely inaccurate to speak of a musical aesthetic that seeks to bombard the senses into submission, where the pulsing beats inherent in the overtones and microtonality amalgamate to a roar and thunder roll of noise. The connection between the three works on this CD is the use of live electronics. It creates something like an "acoustic shadow", in which the music is played again with a time delay -- accelerated slightly in Ein Schattenspiel and thus a quarter tone higher than the original that was just heard. Together with the SWR Experimentalstudio, Sophie-Mayuko Vetter (piano), and the Arditti Quartet pre-sent exemplary world premiere recordings.
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NEOS 12027CD
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With the complete recording of the accordion works by Magnus Lindberg, Janne Valkeajoki presents an extraordinary debut album. The young Finnish accordionist has won several international competitions and has made guest appearances at numerous festivals. On this CD, solo and chamber music works can be found; while "Jeux d'anches" (for accordion solo) and the duo "Metal Work" for accordion and percussion are original works, Valkeajoki made versions of "Dos Coyotes" (with cello) and the piano work "Jubilees" especially for his instrument. He worked closely with Lindberg, who emphasizes that the accordion versions are not just arrangements, but stand-alone works. Magnus Lindberg has a special relationship with the accordion: as a child he took his first musical steps with it. Today he is one of the most played composers internationally.
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NW 80831CD
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"Tom Johnson (b. 1939) is a key figure in the contemporary music scene whose voice as a composer is instantly recognizable. A major champion of minimalism in the 1970s as a writer, he remains one of its most important adherents as a composer, although the word 'minimalist' does not cover everything that his music does. The characteristic elements of repetition and sparse material are there, but his extensive use of mathematics and, especially, counting, makes him unique. Johnson relies on more than counting, using algorithms, combinatorics, juggling, and tiling techniques, among other things. Johnson is as radical as Eliane Radigue or Phill Niblock, but he is also interested in sounds that can be enjoyed in the moment, and in this sense, he is a true heir of Feldman, who was one of his teachers. Counting to Seven (2014) is a set of short pieces lasting about 80 minutes, of which eighteen pieces are presented here. Although obviously vocal because they are text-based, some of the pieces include percussion. They can be performed by almost any group of at least seven people and are not written for trained singers or actors. It was around 1980 that Johnson developed a series of twelve solos in twelve languages called Counting Languages, under the inspiration of sound poets such as Charlie Morrow and Jerome Rothenberg in the United States and Henri Chopin, Bob Cobbing, and Bernard Heidsieck in Europe. He then wrote Counting Duets, (also called Counting Music), a set of five counting sequences for two performers speaking in one language. Some years later, after a performance by Vincent Bouchot from the ensemble Dedalus, Johnson 'reworked everything for seven voices. I changed the title to Counting to Seven, added about 30 languages, well-known, little known, living and dead, and put together an 80-minute version, which we began performing in 2014.' Johnson explores the tonalities and rhythms that come from repeating numbers sonorously in different languages. Every piece is different, with 1-7 as the connecting thread, like a set of short stories that forms a novel through a connecting character. The languages Johnson chose include major ones spoken in large swathes of the world -- French, Japanese, Hebrew, German. Some are more national -- Turkish, Hungarian, Gaelic, Georgian. Some are specific to certain places: Muruwari is spoken by Aboriginal people in northern Australia; Tajik is a variety of Persian spoken in Uzbekistan; Maninke is spoken in Guinea, Mali, Liberia, Senegal, Sierra Leone, and Ivory Coast."
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KAI 15063CD
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"Giacinto Scelsi is one of the most original Italian composers of the twentieth century. The symbolic choice of Rome as his home represented Scelsi's own cultural, artistic and spiritual interests. His fascination for Eastern philosophies, Yoga and Zen meditation are combined with a insightful knowledge of Christian, Greek, Egyptian and Mesopotamian mythologies; Scelsi's library and collection of recordings displays his cultural interests, his curiosity and openness to the intricacies of the mind and his lifelong quest for a dialogue between different expressions of human spirituality. Marco Fusi, one of the leading performers of contemporary music, presents his readings of some of Scelsi's intriguing works for violin and for viola solo. For the listener, this is a journey into a futuristic vision from a past era."
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SR 501CD
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"The end sounds like the angels opening up heaven... Should we say euphoria?" This is Julius Eastman himself, speaking about Femenine, a piece that remains as a big and slow breathing, with something informal driving the listener to a near-hypnosis state. J.E. (1940-1990): There was some for John Cage, then came Christian Wolff, and finally Morton Feldman, from this school in New York. Only Julius Eastman remained outside the game, the last figure, the most solitary and enigmatic -- undoubtedly also one of the most powerful. And it is this power that is revealed through these recordings. In the 1970s and 1980s, Eastman was one of the very few African-Americans to gain recognition in the New York avant-garde music scene. He was politically committed, a figure of queer culture and a solar and solitary poet whose melancholy influenced his genius as well as his tragic destiny: suffering from various addictions, declared missing, actually homeless. During winter of 1981-82, he got deported from his apartment by the police, who destroyed most of what he owned - including scores and recordings. He was found dead in 1990, on the streets of Buffalo, after years of vagrancy. Performed by ensemble 0: Variable geometry group created in 2004. It interprets the compositions of its members and pieces by other composers. The group works with many regular and invited collaborators, being able to change, increase or reduce its lineup at will according to each project. Ensemble 0 has now become one of the most significant ensembles of a new sound vision. For this piece, ensemble 0, including this time Melaine Dalibert (piano), Sophie Bernado (bassoon), Cyprien Busolini (viola), Jozef Dumoulin (Fender Rhodes, synthesizer), Céline Flamen (cello) Stéphane Garin (percussion, artistic co-direction), Ellen Giacone (voice), Jean-Brice Godet (bass clarinet), Amélie Grould (vibraphone), Alexandre Herer (electronics), Tomoko Katsura (violin), Julien Pontvianne (saxophones, orchestration, artistic co-direction), and Christian Pruvost (trumpet).
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NW 80828CD
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"If you ask a random group of people familiar with contemporary classical music to categorize the style or type of music that Daniel Goode (b. 1936) creates, you would probably receive as many answers as the number of people in that grouping: minimalist, gamelan, process, improvised, folk-based, solo, chamber, orchestral, spoken word, electro-acoustic, intermedia, graphic, and more. This CD features two types of instrumental music: solo/small ensemble music and orchestral (or, to be more precise, music for Flexible Orchestra). Of AnnCela Express, written for the latter, Goode notes, 'I was going to make the whole of AnnCela Express out of a traditional Serbian tune I heard on a movie soundtrack, called in English, roughly, 'Don't ride the horse, young man, with your head down,' but it didn't turn out that way, exactly. This tune does appear a few minutes into my piece played by the clarinet, but exits pretty soon, leaving a glow, a trace that becomes the armature on which the final slow dance rotates.' Piano Sonata #2 (2015) is subtitled 'Memories of Pre-Minimalism, 1959 and Now.' It uses material from a very early piano suite composed in 1959. It is deceptively simple, and yet is complex, presenting challenges for the pianist. Clarinet Quintet (2015), which is in one movement and is inspired by Brahms's great Clarinet Quintet, opus 115, uses two short quotes from it. The piece is engrossing with its subtle changes juxtaposed with sudden outbursts. Sonata for Violin and Piano (2014) takes you for a romp, with at times a flurry of notes, but then ends wistfully, floating off like a balloon into the ether at the end. Although all of the pieces on this CD were written in the 2000s, they seem to cover a much wider span of time by the use of self-referential techniques used throughout his compositional career. There are memorable melodies that evoke a nostalgia for the past, be it the lushness of Mahler and Bruckner or the use of folk melodies, be they real or imagined. There are the sudden changes in mood, from stillness to busyness, slow to fast. Even though the pieces on this CD are through-written, they maintain the kind of spontaneity heard in his more experimental pieces for open instrumentation and structured improvisation. And overall, they have a sense of joyous movement apparent in all of his work."
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KAI 15092CD
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"For me, the flute is the instrument which can most deeply realize my musical ideal. The flute can produce a sound by means of the breath, and can be a vehicle by which the breath transmits the sound's life-power" --Toshio Hosokawa "The six flute compositions on this CD, rendered impressively and with intense devotion by Yoshie Ueno, each show a way of experiencing the music intended by Toshio Hosokawa as a profound art of expression."
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KAI 15100CD
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"Friedrich Cerha, whose monumental Spiegel cycle and his completion of Alban Berg's Lulu have secured him a place amongst the most eminent composers of our time, celebrates his 95th birthday on 17 February 2021. This album presents two of his lesser known very typical Viennese works, featuring chansonnier HK Gruber. While somehow in the tradition of the local music played at the Heurigen, both pieces dig deep into the musical and spiritual soul of Vienna's folk and art music. This extraordinary album celebrates an extraordinary composer who has been a KAIROS artist since the label's beginning. The album also marks the 100th release since KAIROS joined the paladino label group, thus making it a double Viennese celebration."
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KAI 15089CD
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"The work of Austrian composer Bernhard Lang (b. 1957) is difficult to fit into any one musical category. His oeuvre references a wide variety of musical styles and genres, ranging from free jazz and improvisation to hip hop and DJ culture. The three works on this release showcase an enormous amount of virtuosity. The incessant and rapid repetition of complex musical cells pushes the performers to the edge of their technical abilities. This makes for a highly concentrated and intimate experience for both the performers and their audiences."
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MOC 14024CD
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"Itaipu is a place between Brazil and Paraguay and hosts a large hydro-electric dam. This album is a work of massive proportions much like the creation of the Itaipu dam. On this work Glass makes good use of a heavy brass section combined with a large chorus and is around 40 minutes in length, spread over four movements. The extensive choral work is written in the language of the Giuranni Indians. Glass often chooses obscure languages for the effect of distance. This is a powerful pair of compositions and it is a good coupling on this recording. On the opener 'Itaipu' and the closing track 'The Canyon' the Atlanta Symphony Orchestra and chorus with Robert Shaw do a truly grand job of performance. It's a superb Glass work and a real classic of the '90s."
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CREP 082CD
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Enter, Angst a series of musical "essays on the ephemeral being" by Portuguese pianist and composer Tiago Sousa. After 2015's Um Piano nas Barricadas (CREP 023LP, 2016) Sousa expands his compositional chops by writing and performing along with a trio made of clarinet, percussion and vibraphone adding a magical realism aura to the music. It was fate that the releasing of these compositions would arrive in one of the most troubled passages of recent memory, just as a new decade begins. If it was already established that anguish is one of the hallmarks haunting our modern era, these last few years expose this existential feeling with even greater urgency. The album that Tiago now presents, part angst part nostalgic escapism addresses this very modern concern as well as other themes dear to the so-called existentialist thinkers such as Heidegger, Camus or Kierkegaard, who among others, seek to directly challenge the Being with various concepts such as Repetition, Temporality, Interiority, Despair... Throughout the eight themes here presented, a delicate attempt is made to sketch a phenomenological cartography through its content and form, loosely describing the feeling of being launched into the wide world and the discovery of one self. In other words, the artist's aim here is to convey the growing pains that the whole question about the meaning of life throws at us. In an approach that is difficult to catalogue, the album tries to avoid genres and crystallizations in which music presents itself as a vehicle to express the ineffable and the incommunicable, expressing instead a magical world of wonder and enchantment.
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KAI 15095CD
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"Toshio Hosokawa, Japan's pre-eminent living composer, creates his distinctive musical language from the fascinating relationship between Western avant-garde art and traditional Japanese culture. His music is strongly connected to the aesthetic and spiritual roots of the Japanese arts (such as calligraphy), as well as to those of Japanese court music (such as Gagaku). He gives musical expression to notions of beauty rooted in transience: 'We hear the individual notes and appreciate, at the same time, the process of how the notes are born and die: a sound landscape of continual 'becoming' that is animated in itself.' This album is part of Klangforum Wien's Solo five-CD series of recordings of pieces for one performer, which is the ensemble's response to the 2020 Covid-19 pandemic."
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PE 023LP
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On Interior, Swiss composer Samuel Reinhard excavates intricate resonances at the periphery of our attention. Across four movements, Reinhard follows a process whereby he layers and loops fragments of piano improvisations. Yet, Interior complicates its own systematicity by using samples that are not only recognizable as piano notes, but as live recordings of a piano being played. Reinhard composes from traces both analog and digital: you can hear static hiss and clicks, but also the soft trace of a finger pressing a key or the shuffle of a body shifting position. Interior asks you to think about where you are, and how close you are willing to look, feel, and listen. Over the course of the four movements sounds return, familiar but transformed. What sounds like repetition is something more like accumulation, a thickening of space. Whether regarded at intimate range or from a distance, these compositions reveal more the longer we linger in the presence of each. Artwork photography by Jeff Ross. Edition of 200.
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KAI 15084CD
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"In this anthology, which is a portrait of his compositional tendencies, Claudio Ambrosini is actually one of the most daring creators of utopian virtuosity; a virtuosity which is grounded in the invention of multi-formal, luminous, permutable, nocturnal sound, giving prerogative to an exasperation of extremes and matured in the workshop of the Ex Novo Ensemble, a permanently active workshop of constantly renewed research. It is also a dream of a liminal avantgarde that favors torrential energy but at times opens up into a voluble undercurrent of song: a furtive shadow of Maderna appears."
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