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Search Result for Genre CLASSICAL
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NEOS 12001CD
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$15.50
PREORDER
RELEASE DATE: 3/20/2020
Victor Ibarra's music, by producing cuts, cracks, outbreaks, and eruptions, erodes the conditions of common listening. It is characterized by sudden changes and contrasts, but is held together by a strong energy. Víctor Ibarra is professor of composition at the University of Guanajuato in his native country Mexico. His career has taken him to numerous European centers for New Music, where he has received several awards. With this recording of the Ensemble Vertixe Sonora under Nacho de Paz there is now a monographic CD of the remarkable Mexican composer.
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NEOS 12002CD
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$15.50
PREORDER
RELEASE DATE: 3/20/2020
Cello and percussion -- "my favorite instruments!" -- is how almost all composers respond, when UmeDuo from Sweden asks them to write for them. Since the duo has been founded in 2008, numerous compositions where created for the two sisters. Seven of them found their way on this CD. Seven personalities -- seven musical languages, from spiritual meditations to icy harmonies, from rough scrapes to delicate soundscapes. A view on UmeDuo's journey so far: musically, geographically, and aesthetically. UmeDuo is Karolina Öhman (cello) and Erika Öhman (percussion). Compositions by: André Chini, Jenny Hettne, Ricardo Eizirik, Esaias Järnegard, Leilei Tian, Ivo Nilsson, and Farangis Nurulla-Khoja.
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NEOS 12005CD
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$15.50
PREORDER
RELEASE DATE: 3/20/2020
Werner Heider has left his mark on cultural life in Franconia for decades: as a composer, pianist, conductor and long-time director of the ars nova ensemble nürnberg. In January 2020, he celebrated his 90th birthday. Reason enough for a portrait of a special kind: In constant crescendo, this CD ranges from solo piano (Heider himself as the interpreter of his music) to chamber works and his large orchestral work Architektur, played by the Bavarian Radio Symphony Orchestra conducted by Peter Eötvös.
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NEOS 11909CD
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$15.50
PREORDER
RELEASE DATE: 3/20/2020
This CD with orchestral works by Ernst Helmuth Flammer is the fifth edition with works by the composer at NEOS. The compositions presented here date from 1983-1999. They all deal with the phenomenon of time in different ways; whereby Flammer is concerned with the architectural/energetic organization of time within a composition, as well as the musical-historical point in time of their creation and thus a temporal classification in an aesthetic sense -- namely an "aesthetically rigorous approach" (Flammer). The piano concerto "Zeitzeichen - Zeitmaße" was recorded with Ortwin Stürmer and the BBC Symphony Orchestra under the direction of Lothar Zagrosek. Also features: Radio-Sinfonieorchester Basel - Ulrich Backofen, conductor; Philharmonisches Orchester Freiburg - Hannu Koivula, conductor - Ortwin Stürmer, piano; BBC Symphony Orchestra - Lothar Zagrosek, conductor.
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2CD
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NW 80816CD
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$30.00
PREORDER
RELEASE DATE: 3/13/2020
"John J. Becker (1886-1961) is the least known of a group of composers who, by reputation, became known as 'the American Five,' analogous to the better-known 'Russian Five' or 'French Six.' Becker's cohorts consisted of Carl Ruggles, Henry Cowell, Wallingford Riegger, and Charles Ives. Ives, born 1874, was the oldest of the group and Cowell, born 1897, was the youngest, and in the 1920s and '30s they were known as the most radical and dissonant of American composers. Becker could be briefly summarized as a confluence of dissonance and Catholicism. He became known as one of the leading proponents of a style invented by musicologist/composer Charles Seeger (1886-1979), who had been one of Cowell's mentors, known as dissonant counterpoint, an idiom in which the traditional rules of counterpoint were reversed to produce maximum dissonance rather than consonance. In his own writings about Becker, Cowell emphasized his ties to Renaissance church polyphony, calling him 'a Sixteenth-Century modern.' For a promotional pamphlet Becker produced, Cowell wrote that Becker 'bases his style on the art of the great vocal polyphonists, de Lassus, Palestrina, Victoria, etc. Using their breadth and religious feeling, he has poured his own modern materials into the old polyphonic forms.' Elsewhere Becker can fall into a kind of modernist simulacrum of Classical-era style, in conventional four-part textures differentiated by the harshness of dissonant intervals between moving lines. He picked up Cowell's passion for tone clusters, often pitting black keys on the piano against white (in common with some other early moderns like Stravinsky and Ornstein), and he made a notational fetish of large sharps and flats that were intended to apply to an entire chord. In his music, he said, there was no dissonance, because 'dissonance replaced consonance as the norm.' Along with the Symphonia Brevis, the Concerto Arabesque, and a motoric percussion ensemble piece called The Abongo (which the percussion-loving Cage expressed admiration for), Becker's seven chamber works abstractly called Soundpieces have proved the most public part of his output. This is the first recording to bring them all together, and indeed the first commercial recording of several of them. That John Becker will remain the least-celebrated member of the American Five is probably inevitable. But at his best he achieves considerable eloquence in the then-new idiom of dissonant counterpoint, and a textural momentum and energy that seem all his own."
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5CD
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D 50021CD
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Five-CD set presenting 100 masterworks composed by Johann Sebastian Bach. Performed by various orchestras, choirs, and soloists from Germany, Hungary, Bulgaria -- with all the details and credits noted in the enclosed six-page leporello booklet. Johann Sebastian Bach (born March 31st (or) 21st March 1685 -- died 28th July 1750) was the German composer and musician of the Baroque period. He is known for instrumental compositions such as the Art of Fugue, the Brandenburg Concertos, and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th century Bach Revival, he has been generally regarded as one of the greatest composers of the Western art musical canon.
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NW 80807CD
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"Intercultural composition is no longer a novelty. It has become a familiar, even commonplace, phenomenon. With this recording, Shih-Hui Chen (b. 1962) breathes fresh air into this important genre. In more ways than one, her transcultural work has blurred the lines between individual cultures and represents our rich musical horizon today. Her earlier work is characterized by intense modernist sonorities, polyphonic layers, yearning angular melodies, and firm control of orchestral timbre and structure. It is the profound balance between her earlier modernist sensibility, with its rigorous control of polyphonic layers and structural design on the one hand, and her search for the inner self with materials distinctly different from Western tradition, that marks her accomplishment as a 21st-century composer. In the five works collected here, Chen broadens her reach into several branches of vernacular music -- Nanguan music and Taiwanese opera -- and the Chinese zither of traditional literati. Two use traditional Chinese instruments as soloists with a Western orchestra, one is written for both solo Chinese instrument and Chinese orchestra, and the two remaining works are scored for Western orchestra. Yet it is the source of inspiration that really sets them apart. The earliest work, Concerto for Pipa and Chamber Orchestra (2002), is abstract in conception, with prominent pipa gestures that infuse the composition with distinctive sonorities and melodic tropes. This is followed by three works, each of which uses a melodic source from traditional Chinese genres. Fantasia on the Theme of Guanglingsan for Zheng and Chinese Orchestra (2014) is based on a well-known masterwork, which is full of drama and contrast. It shares certain sonic similarities with the pipa concerto. As a pair they differ significantly from the two following works, centered around Taiwanese Nanguan music. Fantasia on the Theme of Plum Blossoms for String Orchestra (2012) uses as its basis a famous tune from the Nanguan repertoire, while A Plea to Lady Chang'e for Nanguan Pipa and Chamber Orchestra (2013) is essentially a setting of a traditional Nanguan song in the modernist sonic fabric. Finally, Silvergrass, for Cello and Chamber Orchestra (2016) represents a step further in that direction, not only tracing the sonic aspect of another indigenous music genre -- Taiwanese opera -- but also delving deeply into the words, sensibility, and poetic expression of one of the island's literary legends, author Huang Chunming, who is known for his plain, richly colloquial voice."
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2CD/SACD
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NEOS 11919-20CD
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Dániel Péter Biró's Mishpatim (Laws) is a concert-length work in six parts, scored for voice, chamber ensemble, percussion, and electronics, including computer-activated, acoustic "ghost-instruments" that appear to play themselves. Many of Biró's haunting works are based on texts from the Hebrew Bible. Mishpatim derives its title from Chapters 21-24 of the book of Exodus, in which Moses relays God's laws to the Israelites. Dániel Péter Biró was born in 1969. He studied in the U.S., Hungary, Germany, Switzerland, Austria, and Israel. Today he is Associate Professor at the Grieg Academy, University of Bergen in Norway. He was awarded many times. His compositions are performed around the world.
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2CD/SACD
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NEOS 11914-15CD
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The Donaueschingen Festival has been documented regularly by NEOS for many years. In the 2018 edition, Hermann Meier's Stück für großes Orchester und Klavier vierhändig (Piece for Large Orchestra and Piano Four Hands) is to be emphasized. More than 50 years after its completion, the work was premiered in Donaueschingen. Of course Malin Bång, winner of the 2018 Orchestra Prize, is included in the selection with her work splinters of ebullient rebellion. Also features: Ivan Fedele's Air on Air (2018); Marco Stroppa's Come Play With Me (2016-2018); Agata Zubel's Chamber Piano Concerto (2018); Mirela Ivičević's CASE WHITE (2018); and Francesco Filidei's BALLATA N. 7 (2018).
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NEOS 11912CD
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Born in Cuba, Jorge E. López was raised in the USA and lives in Austria today. Although he studied composition at the California Institute of the Arts, he describes himself as an autodidact. Extra-musical influences play a large role in his music, which doesn't fit neatly into any categories or schools of "New Music". With its 52-minute duration, López's Second Chamber Symphony Op. 23 "A végső Tavasz" is the central work on this disc and also draws inspiration from various sources. This is the world premiere recording of this work as well as of the ensemble piece Kampfhandlungen / Traumhandlungen Op. 11 [Scenes of Combat / Tissue of Dreams], which is marked by dark colors and sharp contrasts.
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NEOS 11911CD
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Choral & Orchestral Works Vol. 2, with works by Nikolaus Brass, offers extraordinary recordings of two central works. The CD is the eighth release of the composer's work on NEOS. The choral piece fallacies of hope, which bears the subtitle "German requiem", contains 32 individually composed vocal parts that are masterfully embodied by the SWR Vokalensemble Stuttgart. Written 13 years earlier, the 30-minute orchestral piece similar is presented as a live recording of the work's world première with the Radio-Sinfonieorchester Stuttgart des SWR.
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5CD
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D 50022CD
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Five-CD set presenting 100 masterworks of the opera, from Giuseppe Verdi, Giacomo Puccini, Gioacchino Rossini, Vincenzo Bellini, Wolfgang Amadeus Mozart, Georges Bizet, Jacques Offenbach, Charles Gounod, Bedrich Smetana, Peter Tschaikowsky, Modest Mussorgsky, Richard Wagner, and many more. Performed by various orchestras, conductors, singers, choirs from Germany, Hungary, Poland, Great Britain, Austria, Bulgaria, Czech Republic -- with all the details and credits noted in the enclosed six-page leporello booklet. Also features operas by: Ruggiero Leoncavallo, Gaetano Donizetti, Arrigo Boito, Amilcare Ponchielli, Pietro Mascagni, Alfredo Catalani, Georg Friedrich Händel, Jean Philippe Rameau, Claudio Monteverdi, Henri Purcell, Christoph Willibald Gluck, Luigi Cherubini, Ludwig Van Beethoven, Peter Cornelius, Camille Saint-Saëns, Jules Massenet, Giacomo Meyerbeer, Nikolai Rimsky-Korsakoff, Michail Glinka, Otto Nicolai, Albert Lortzing, Carl Maria Von Weber, Conradin Kreutzer, Franz Schmidt, Friedrich Von Flotow.
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5CD
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D 50020CD
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Five-CD set presenting 100 masterworks composed by Wolfgang Amadeus Mozart. Performed by various orchestras and choirs from Germany, Hungary, Great Britain, Austria, Bulgaria, Slovakia -- with all the details and credits noted in the enclosed six-page leporello booklet.
Wolfgang Amadeus Mozart (born January 27th. 1756 -- died December 5th, 1791), baptized as Johannes Chrysostomus Wolfgangus Theophilus Mozart, was the prolific and influential composer of the classical era. Born in Salzburg (Austria), Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. At 17, Mozart was engaged as a musician at the Salzburg court but grew restless and travelled in search of a better position. While visiting Vienna in 1781, he was dismissed from his Salzburg position. He chose to stay in the capital, where he achieved fame but little financial security. During his final years in Vienna, he composed many of his best-known symphonies, concertos, and operas, and portions of the Requiem, which was largely unfinished at the time of his early death at the age of 35. The circumstances of his death have been much mythologized.
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2CD
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NW 80817CD
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"Charles Amirkhanian (b. 1945) can be regarded as a central figure in American music, and on several fronts. As a composer, he's been pervasively innovative in two genres: text-sound pieces, in which he can draw engaging rhythmic processes from wacky word assemblages such as 'rainbow chug bandit' and 'church car rubber baby buggy bumper'; and natural-sound electronic pieces which go far beyond the usual confines of musique concrète to create long, poetic sound narratives poised between collage and sonic landscape. Amirkhanian's text-sound pieces often begin with a quasi-minimalist basis in repetition, but their processes are playful and even humorous rather than strict. His electronic landscapes (including all the ones here) occasionally include repetitive elements, but are more poetic, intuitive in their form and often impressionistic in their effect. Several of his earlier commercial recordings have showcased the text-sound pieces; the present two-disc set is a welcome compendium of his sound landscapes. We might characterize the whole as three tone poems preceded by a set of ten etudes. The set of ten pieces, Pianola (Pas de mains) (1997?2000) -- the subtitle is French for 'no hands' -- stems from Amirkhanian's long fascination with the player piano, or pianola -- the self-playing piano, and is a whimsical set of essays based on the sound and techniques of the player piano. The remaining three works [Im Frühling (1989?90), Son of Metropolis San Francisco (1997), Loudspeakers (for Morton Feldman) (1988?90)] might be characterized as extended love poems, so affectionately do they portray their respective subjects: spring, San Francisco, and the composer Morton Feldman. These pieces were composed using the Synclavier, an electronic sampling keyboard first developed at Dartmouth in the late 1970s, for which Amirkhanian has written many of the most ambitious works. What links all these pieces is a creative ambiguity of genre, a delight in shifting back and forth between elements whose sources can be recognized and those whose can't. The pacing, at least in the latter three works, is leisurely, and somewhere between ambient and symphonic: One can listen to them as atmosphere, yet a sense of overall dramatic shaping is not absent. Though we listen to them through loudspeakers, it seems problematic to pigeonhole Amirkhanian as an 'electronic' composer. The music, restful and noisy at once, is too playful for that, and too natural -- and elicits a listening mode that brings no other composer to mind."
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FOX 019LP
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As noted on Alternative Fox's Berkeley November 7, 1970 (FOX 002LP) and Information, Transmission, Modulation and Noise (FOX 006LP) releases, the New York-born composer and abstract keyboard artist Steve Reich was one of the most important pioneers of minimalist music. After studying with jazz pianist Hall Overton, Reich studied composition at the Julliard School of Music and later at Mills College, a hotbed of experimental music in Oakland, near San Francisco. He subsequently began experimenting with audio tape as a medium for recorded and performed music at the San Francisco Tape Music Center with important figures of early electronic music, including Morton Subotnick, Pauline Oliveros, Ramon Sender, and Phil Lesh (the latter eventually a bassist in the Grateful Dead), and more importantly with Terry Riley, who joined Reich for the staging of In C in 1964, based on constantly shifting, fragmented music patterns. Reich went on to compose a number of noteworthy film soundtracks and in 1967 collaborated with Oliveros and Richard Maxfield for the LP New Sounds In Electronic Music. Phased musical and rhythmic patterns, sonic loops and electronic percussion were focal points from the mid- 1960s. Music For 18 Musicians was first released by jazz label ECM in 1978, based around pulsing patterns of tuned percussion created by several pianists, a vibraphonist and three marimba players, along with a clarinetist, a cellist, and a violinist, as well as three vocalists, with players switching to different instruments and percussion as necessary; the masterful version presented at Tokyo's Opera City on May 21st, 2008 features the choral group Synergy Vocals, close-microphone specialists founded by BBC Singers and London Choir alumnus Micaela Haslam, who first collaborated with Reich on his 2002 Drumming release.
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NW 80815CD
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"While certain recognizable fingerprints are found throughout the body of Daniel Lentz's (b. 1942) work, he has never been content to settle within one particular style or mode of music for long, moving ever forward in an evolutional continuum, an overriding arc that defines his growth as a composer -- beginning with traditional music, diverting into electronic music, moving into performance art pieces for his various touring groups, then sallying into minimalism, followed by work distinguished for its revolutionary use of live multi-track recording in performances in the 1980s and 1990s, and finally evolving into his own brand of modern romanticism. Perhaps the most important aspect of Lentz's compositions is that they immediately connect to the listener. This is because he started out as a performer, not as an academic, and from his first jazz band through years of touring his music with multiple groups, he never lost sight of whom he was writing for -- the listener. This simple intention permeates his music. Never pandering or soft-peddling his message, never compromising his artistic integrity, Lentz has gone straight for the listener all his life, and his music connects in ways that are simultaneously intellectual and emotional. Continental Divide (2003) (for string orchestra) is traveling music. And as the piece progresses the listener is swept along across this massive line of demarcation -- a line dividing perhaps more than just the west from the east, or one way of life from another. Lentz wrote the music as a testament to the many road trips he took across the American landscape, and it captures stark granite formations, the lushness of desolation, the beauty of sky and rock, and the exhilaration of giddy peaks traversed. Ending(s) (2018) (for tenor and double string quintet) is protest music at is best, music that champions life over those things that try to rip apart the fabric of the country, the society, the self."
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OME 1024LP
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Fantôme Phonographique present a reissue of Serenata I/Sonatine/Canteyodjaya/Zeitmasze, originally released in 1958. The avant-garde composer and conductor Pierre Boulez was a titan of post-war experimental classical music. Born in the small cheesemaking town of Montrbrison in central France in 1925, Boulez studied at the Paris Conservatoire with the composer and organist Charles Messiaen and received private tuition from pianist Andrée Vaurabourg; after moving to the Marais district in 1945, he briefly studied with Schoenberg disciple, René Leibowitz, and further influence came from immersion in Balinese gamelan, Japanese classical music, and African drumming, among other sources. Earning money by playing an early electronic keyboard called the Ondes Martenot on theater productions, Boulez soon became music director of the Renaud-Barrault Theatre Company, leading to tours of Belgium, Switzerland, Britain, and both North and South America. American composer John Cage became an ally, though they subsequently clashed over Cage's commitment to the role of chance in his compositions, paving the way for an intense and lasting friendship with the German composer, Karlheinz Stockhausen, who arrived in Paris in 1952 to study with Olivier Messiaen. In July of that year, the pair attended the International Summer Course for New Music in Darmstadt, leading to contact with Italian composer Luciano Berio and other noteworthy figures. Then, in 1954, with backing from Barrault and Renaud, Boulez began staging a series of concerts of experimental music at the Petit Marigny Theatre, titled Le Domaine musical. The pieces collected on this album are all taken from performances staged for the 1957 Domaine musical season, beginning with Berio's "Serenata I", conducted by Boulez, which debuted in Paris in March of that year; arranged for flute and fourteen instruments, Berio said that the idea behind the piece was for the solo flute to be confronted by continuously interchanging elements, rather than mere accompaniments or oppositions. Boulez's own "Sonatine", composed in 1946 for flute and piano, is a 12-tone piece that evidences Messiaen's influence, with shades of Asian classical music in places; then, Stockhausen's monumental "Zeitmasze" (or "Time Measures") a serial composition for five woodwinds, played in different combinations of tempos and speed, was partly inspired by Webern's principles of homogenous and harmonic textures. Finally, Messiaen's 1949 work "Cantéyodjayâ", delivered by pianist Yvonne Loriod, takes it shape from the classical Hindu rhythms of ancient India, as with much of the composer's oeuvre. 180 gram vinyl.
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NEOS 11905CD
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Zwei Frankfurter Préludes (Two Frankfurt Préludes) presents a live recording of the twos première given on November 19, 1999 with the hr Sinfonieorchester conducted by Arturo Tamayo. The titles of these works are nearly identical ("Two Cranes and Clouds" and "Two Cranes and Clouds / Double") and are conceptually related, though they could hardly be more different. One is based on an extreme accumulation of density over about a minute and a half, while the other explores a radical expansion in both time and space. Each work is scored for large orchestra and the second of them, which lasts some 50 minutes, positions the musicians along a diagonal line that bisects the performance space.
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NEOS 11916CD
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Roland Chadwick began to compose for his instrument, the guitar, during his youth. Today his works are played around the globe and many of his recordings have achieved cult status. The fact that German guitarist Detlev Bork has now gone into the studio to record Chadwick's most important compositions is a real gift, with a number of world première recordings that provide invaluable perspective over nearly 40 years of the composer's work.
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NEOS 11910CD
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Italian composer Agostino di Scipio closely investigates ways to incorporate electronics with music. He is primarily interested in mutual influences between instrument, live electronics, and space. To process sound, he uses a variety of methods, in which conventional analog technologies can play as much of a role as cutting-edge computer programs, electronic sound processing of a simple pitched pizzicato sample, or experimental playing techniques on string instruments. Di Scipio is a professor of electroacoustic composition in L'Aquila. His compositions and sound installations are presented worldwide and are internationally recognized as outstanding contributions to current experimental music and sound art.
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NEOS 11903CD
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Rudolf Kelterborn has had a significant influence on contemporary music making in Switzerland for many decades. In addition to his extensive teaching activities, he has served as the chief editor at Schweizerische Musikzeitung, director of the Musik-Akademie Basel, and head of the music department for the Swiss-German radio service. His compositional oeuvre is wide-ranging, internationally recognized, and has been awarded numerous prizes and distinctions. This CD contains "Ensemble-Buch I" (Ensemble-Book I) (1990) and "Gesänge zur Nacht" (Songs to the Night) (1978), two important vocal works based on texts by Erika Burkhart and Ingeborg Bachmann. Kelterborn composed "Musik mit 5 Trios" (Music with 5 Trios) in 2016/17 for Musikkollegium Winterthur, dedicating the work to the ensemble's chief conductor, Pierre-Alain Monot.
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NEOS 11933CD
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This 33rd volume of the Musica Viva series on NEOS documents an extraordinary concert. The program comprises exclusively works by Peter Ruzicka, conducted by the composer himself, to commemorate his 70th birthday in July 2018. One of the CD's highlights is the world premiere of the fulminant trumpet concerto, "LOOP". One of the work's two soloists plays only piccolo trumpet while the other occasionally switches to flugelhorn. This way, the piece exploits the fullest conceivable extent of the instrument's range -- as well as the boundaries of what's technically possible. Other works presented here provide a multilayered insight into Ruzicka's orchestral works from 1984 to the present.
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NEOS 11802CD
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Philippe Manoury is one of the most important French composers working today and is a pioneer in combining music with live electronics. With Le Temps, Mode D'emploi (Time -- a User's Guide) he created an evening-length work about the phenomenon of time and various possibilities for sculpting and experiencing it. Two real pianos positioned in the middle of the hall are surrounded by four virtual pianos that sound from loudspeakers. This highly complex work is dedicated to the GrauSchumacher Piano Duo, who premiered it in 2014 in Witten, Germany in cooperation with the SWR Experimentalstudio and have worked again with them here to produce the studio recording for this CD.
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NEOS 11729CD
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Sir Harrison Birtwistle is doubtless one of the most important and influential British composers of the last decades. This CD brings together two works with a strong link to the tradition: "Responses" is a piano concerto that, in accordance with historical convention, focuses on the dialogue between the soloist and the orchestra. Birtwistle's second large-scale opera, "Gawain", deals with the legend of King Arthur. In the orchestral version, "Gawain's Journey", which was published the same year the opera premiered, the voice parts are allocated to various instruments. Instead of merely cobbling together selected passages into an orchestral suite, Birtwistle composed them into a standalone orchestral work of immense musical power.
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NEOS 11913CD
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"33 approximations to silence" is how Markus Schimpp describes the collection of piano miniatures recorded here. The catalyst and starting point for this composition was his relationship to the music of Ludwig van Beethoven. On this disc, Schimpp seeks out quiet moments, experimenting with simple harmonies and contemplative repetitions -- silent music as a counterbalance to the daily onslaught of media overstimulation.
Markus Schimpp was born in Augsburg in 1964. After earning a degree at the Leopold-Mozart-Konservatorium there, he set out on an unusual career path. Today he works as a cabaret pianist, singer, host, and composer in Bonn.
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