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Chamber Music, page 204

   Found CDs: 2204
 

HUGUES DUFOURT - L´Afrique et L´Asie d´après Tiepolo

HUGUES DUFOURT - L´Afrique et L´Asie d´après Tiepolo
ID: KAI0013142
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Chamber Ensemble

Dufourt’s works typically appear to be something like the slow differentiation of an overarching “structural sound” (Lachenmann), like a “texture which tears apart and grows back together again, albeit with a unified note that prevents the work from disintegrating.” Here, harmonic objects are endlessly weighed, turned over, put under a magnifying glass, stretched, distorted slightly, filtered and rubbed to dust via instrumentation, with the fine line between chord and timbre drifting this way and that. (Martin Kaltenecker)

Includes booklet with texts by Hugues Dufourt and Martin Kaltenecker
16.00 eur Buy

JESUS RUEDA - String quartets - KNM Berlin

JESUS RUEDA - String quartets - KNM Berlin
ID: KAI0013122
CDs: 1
Type: CD
Subcollection: String instruments

In his String Quartets Rueda exhibits, his special capacity for inextricably bringing together an array of compositional techniques and results, structure and instinctive feeling, a latent capacity for development and communication. The quartets of Jesús Rueda act as a renewal of the heartfelt consciousness to sense and feel music, something to which we have always been getting closer to. (Javier Arias Bal)

Includes booklet with texts by Javier Arias Bal
16.00 eur Buy

ALBERTO POSADAS - Glossopoeia

ALBERTO POSADAS - Glossopoeia
ID: KAI0013112
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Chamber Ensemble

Due to the style in which he combines and joins his sonic material, Posadas’ compatriots often refer to his music as “Francophile”. Beyond the Pyrenees and above all in Francophone countries, where many doors of opportunity were opened to him (including by Festival d’Automne in Paris, Agora Festival (IRCAM), Strasbourg’s MUSICA and Brussels’ Ars Musica), the opposite is true: there, he is viewed as a genuinely Spanish composer due to the power and aplomb that emanate from even his more transparent masses of sound.
(José L. Besada)

Includes booklet with text by José L. Besada
16.00 eur Buy

UNSUK CHIN - Xi

UNSUK CHIN - Xi
ID: KAI0013062
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Vocal and Piano

Like Xi and Fantaisie mécanique, the Double Concerto for prepared piano, percussion and ensemble (2002) was written for the Paris-based Ensemble intercontemporain. Its central compositional idea is that of combining its two antagonists - soloists and ensemble - to create a single homogeneous body of sound. While the soloists provide the impulse for the motivic cells, the ensemble takes up these cells and develops them further. Here too Unsuk Chin uses the idea of metamorphosis to realize a coherent musical texture that is nonetheless constantly growing The sonorities and the complex rhythmic layering of the piece are to some extent influenced by Balinese gamelan music. (Martin Demmler)
“I’ve tried to write music that’s highly coloured in character and expression, freely flowing and flexible, and which sometimes develops in entirely unexpected directions.”

Includes booklet with text by Martin Demmler
16.00 eur Buy

Johannes Maria Staud -Apeiron

Johannes Maria Staud -Apeiron
ID: KAI0012672
CDs: 1
Type: CD
Subcollection: New Music

When Johannes Maria Staud refers in a commentary to one of his works to the pre-Socratic philosopher Anaximander and the latter’s contrasting pair of concepts apeiron (unlimited or infinite) and peras (limited or finite), he outlines a fundamental problem: the conflict between associative invention and logical development. The two compositions of the same name, however, are less suited to separate the two aspects of this relationship than to explore the various priorities between them. (Daniel Ender)

Includes booklet with texts by Daniel Ender, Durs Grünbein and Johannes Maria Staud


Born in 1974, Austrian composer Johannes Maria Staud has established a solid international career, including a substantial presence in the U.S., as featured guest composer at Tanglewood, and with a three-year residency with the Cleveland Orchestra. Apeiron, the highlighted work on this disc, is scored for a massive orchestra of 101 players, and while it has moments of gossamer delicacy, when Staud pulls out all the stops, he makes good use of all 101 players to create music of cataclysmic power. The title is taken from a cosmological theory developed by Greek philosopher Anaximander to describe the primal chaos that embraced and incorporated all things, and from which all things developed, and it's an apt metaphor for the sound of the music itself. Staud has said that the development of his pieces is organic rather than architectural, and Apeiron has a spontaneity and unpredictability that's more viscerally gripping than analytically explicable. Apeiron is the most intriguing and engaging piece.
16.00 eur Buy

Beat Furrer - Nuun

Beat Furrer - Nuun
ID: KAI0012062
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Chamber Ensemble

The Austrian composer of Swiss origin considers his art to be a "view over the moving matter 'sound'": Beat Furrer does not develop sounds, he observes them, his music does not unfold dynamically with time, but attempts to rescind it: "No beginning", writes Furrer, "everything is present from the start". "nuun" thus filters out the individual layers of an initially almost impenetrable sound, as when you suddenly discover structures in a monochrome painting upon taking a closer look. Furrer then compares the sound dramaturgy of "still" with an electrical circular saw which when set into operation almost inaudibly unfolds greatest power and energy - until it encounters resistance.

Includes booklet with text by Klaus Haendl
16.00 eur Buy

Destination Paris - LENDVAI STRING TRIO

Destination Paris - LENDVAI STRING TRIO
ID: 5060192780079
CDs: 1
Type: CD
Subcollection: String instruments

This is the debut recording of an ensemble which is already in great demand around Europe. “Throughout, the fluidity of their phrasing and the way that they balanced the work’s classical elegance and its emotional complexity were compelling.” The Strad
16.00 eur Buy

Dmitri Bashkirov - Piano Concertos - Beethoven & CPE Bach

Dmitri Bashkirov - Piano Concertos - Beethoven & CPE Bach
ID: CLAVES501010
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Piano

He is one of the "superstars" of the piano world. An exceptional teacher - his pupils include stars such as Arcadi Volodos or Claire-Marie Le Guay - Dmitri Bashkirov’s debut with Claves combines a most original programme with orchestra. Face to face, we have: Johann Sebastian Bach’s most famous son, Carl Philip Emanuel, forbearer of the great Romantic composers, and an unusual Ludwig van Beethoven. This particular Concerto op. 61a is indeed very rarely played, copying almost note for note the original score of the Violin Concerto op. 61. Written about two years after the completion of the latter, this transcription - for which Etienne Barilier suggests the term "transposition" in the booklet - is shrouded in mystery. Is it the consequence of the original lack of success of the violin concerto, or Beethoven’s response to the pianist and editor Muzio Clementi who commissioned the work? Beyond these unanswered questions, Etienne Barilier underlines the relevance of pairing this work to CPE Bach’s Concerto in C minor: "Bach had written for the harpsichord; to resort to the piano tends to "modernise" his world. Whereas on the other hand, Beethoven’s almost monophonic piano has a somewhat archaic and strangely nude feel, which sends his work back in time. So that for us, both works seem closer to each other in time, with an almost comparable "sensibility", both bright and serene, with the same deep expressivity, free from pathos. For Carl Philip Emanuel Bach, the storms of Romanticism are still far away. For Beethoven, they are very close indeed; in this strange work however, he keeps them at bay." What with Dmitry Bashkirov’s magnificent interpretation and the Orchestre de Chambre de Lausanne’s delicate and artful accompaniment, this will make for a memorable recording.
16.00 eur Temporarily out of stock

Michael Nyman - Mozart 252

Michael Nyman - Mozart 252
ID: MNRCD113
CDs: 1
Type: CD
Collection: Vocal Collection
Subcollection: Voices

This album was designed to celebrate the 250th anniversary of the birth of Mozart in 2006, but it seemed more appropriate to miss the boat, by two years - hence the 252. It could equally have been Mozart 30, since it is 30 years since In Re Don Giovanni originally saw the light of day in 1977 in the very first Campiello Band concert, in the National Theatre foyer. The Campiello Band was born out of the onstage band used for my arrangements of 18th century gondoliers’ songs for Bill Bryden's production of Goldoni's ‘Il Campiell’, which opened the Olivier Theatre in October 1976 and was thus the father of the current Michael Nyman Band.

Two main bodies of Mozart-derived works are presented on Mozart 252; the soundtrack to Peter Greenaway's ‘Drowning by Numbers’ (1988), and songs and duets from ‘Letters. Riddles and Writs’, a TV film developed in 1991 with the director Jeremy Newson as part of BBC2's Not Mozart series, which marked the 200th anniversary of Mozart's death.

My “Mozart music” is best understood by reading Pwyll ap Sion's impressive analyses in his book The Music of Michael Nyman:Texts, Contexts and Intertexts (Ashgate, 2007). But, briefly the first Nyman/Mozart collaboration, In Re Don Giovanni effectively samples and remixes the first 16 bars the Catalogue Song from ‘Don Giovanni’, and Revising the Don (a Radio 3 commission for the 250th anniversary) is a lyrical and literal revisiting of In Re.

The ‘Drowning by Numbers’ score is derived, in accordance with Greenaway's strict instructions, entirely from the slow movement of the ‘Sinfonia Concertante’ for violin and viola: Trysting Fields simply 'lists', in order of occurrence and each repeated three times, all the “unprepared” dissonances, (appoggiaturas) from the Mozart piece, and at the end introduces the 8-chord E flat/C minor/A flat/B flat/C min/E flat/A flat/B flat 'rock 'n' roll' sequence which ends the exposition of the movement, and which, along with a kind of retrograde version, is heard throughout Sheep 'n' Tides, Wheelbarrow Walk, Fish Beach and Not Knowing the Ropes (so called because on the ‘Drowning’ soundtrack album it is erroneously called Knowing the Ropes!).

Wedding Tango is built out of a chord-by-chord alternation of both the minor key version (from the very end of the movement) and more familiar major key versions of the 8-chord sequence. Knowing the Ropes, like Trysting Fields is a musical list (though with more conscious structural organization) - this time of a wiggly semiquaver motif, which is threaded through the movement and ends with a grand statement of the theme that is accompanied by the 8-chord sequence in the Mozart original.

‘Letters, Riddles and Writs’ deals in general, through texts taken from Mozart’s letters and riddles (the writs have to do with my frequent theft of Mozart's music) with his relationship with his father (O my dear Papa, a remake of O Isis und Osiris from The Magic Flute), with his own mortality (I am an Unusual Thing, which uses the texts from one of the riddles that Mozart wrote and distributed in Vienna during the 1787 Carnival and is based entirely on extract from two of his Haydn quartets) and with his business acumen [Profit and Loss, modeled on In Re Don Giovanni)
16.00 eur Buy

The Art of Han de Vries - Oboe Concertos

The Art of Han de Vries - Oboe Concertos
ID: CC2004
CDs: 1
Type: CD
Subcollection: Oboe

The CD booklet contains an interview with Han de Vries (printed in English, French and German), in which he talks about
all the works on the CD. There are photos of him throughout his career, and of his extensive instrument collection.

Jeremy Polmear talks to Han de Vries about two of the concertos on the CD:

BACH CONCERTO FOR VIOLIN AND OBOE:
JP: Am I right in thinking that this recording has not been issued commercially before?
H de V: Yes, it was commissioned by a major Dutch bank - the Verenigde Spaarbank - for its employees. This bank is a good sponsor of the arts as well as sport, and I am glad that one of its products is coming out into the wider world.
JP: And you had no conductor; how did you work out the interpretation?
H de V: The Concertgebouw Chamber Orchestra is made up of the best players in the Concertgebouw Orchestra, and when I played with that orchestra Jaap van Zweden the violin soloist was the leader, and they are wonderful musicians who have worked with Harnoncourt, with Chailly. So the way to approach this music was very clear to us.
JP: By 1986 when you made this recording, you had played Baroque oboe for many years, but here you are playing Baroque music on the modern oboe. Were you influenced by baroque practices?
H de V: Yes of course, and I've been playing Baroque instruments since I was 28. But to play in the Baroque style on the modern oboe, with little or no vibrato, would sound cold and unfeeling. I also have a loyalty to my teachers, to the style of the Concertgebouw, to the musicians I admire, and to the other players. I don't want to be an island of 'I am right'. I want to be somebody who communicates with other musicians, and to the ears of the audience; if I have the joy of being surrounded by very good musicians then I feel I am at my best.

ANDRIESSEN, ANACHRONIE II ('furniture music'):
JP: Let me start by asking you not about the music, but about the words. There seems to be what sounds like railway announcements at the beginning, at the end, and a bit in the middle of this concerto, and as a non Dutch speaker I must ask you - what is the gentleman saying, and does it matter?
H de V: It doesn't matter. In the score there is written a part for Radio. So it can start witrh a weather forecast, or anything. And then the music is a tapestry of quotations, and crazy humouristic, or agressive moments. It starts like Michel Legrand. Then we get a quasi Vivaldi oboe concerto, then an incredible crazy cadenza that ends with the soloist becoming totally insane. Then comes a sort of funeral march of drunken horns. This piece comes from 1969 where all music was quoting others, with bits of Stravinsky and everything mixed upside-down; it is a reaction against so-called 'beautiful music'. Andriessen said to use no vibrato. Sometimes I couldn't resist it, because I thought 'this is too much, too long, too ugly'.
JP: Did you commission the piece?
H de V: I asked him to write an oboe concerto, but the ideas are all his; and he never asked me whether what he had written was possible or impossible to play. In the cadenza he wanted a sort of shawm sound - he actually said 'like a bagpipe' - and I must say it should have been much more agressive and ugly, but there I felt I had to fight for my oboe, and not destroy the ears of my listeners.
JP: But I couldn't help noticing when you were listening to it, the part that amused you most of all was the bit in the cadenza where you honk on low and high notes. Why is that so much fun to hear?
H de V: Yes, because that's the utmost ugly playing, it's leaving behind everything that is beautiful on an oboe - as if a drunken man picks it up and tries to play it. And I laughed because I had to give up all the beauty I always worked for in my life. © 2002 Han de Vries and Jeremy Polmear
16.00 eur Buy
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