Piano Music
Music as a message without words from far away – from our inner selves. Piano music as metaphor for the thrilling adventures of human existence.
Klaviermusik
The sovereign and immediate approach Lachenmann takes in his Fünf Variationen über ein Thema von F. Schubert (1956) lends Schubert's slight Deutsche Tanz D 643a special and almost heroic flavor. But only five years later, Lachenmann had already travelled a considerable distance since those days as his Echo Andante of 1961 shows. Like Wiegenmusik (1963), the piece has been shaped by Lachenmann's studies with Luigi Nono whose influence and inspiration are clearly audible. A perfect example of the …
Ausklang / Tableau
The title Ausklang (Final Notes, or Fading Away) is intended to be understood literally. Lachenmann's Musik für Klavier und Or-chester is centrally concerned with final notes and sounds fading away. In particular, it is concerned with piano sounds created with certain techniques (playing silently at the keyboard, special ways of operating the piano pedals, etc.). It is also concerned with the fading away of sound as the sounds of the piano are being picked up by the orchestra just as they are ab…
Symphony No. 3
Charles Ives (1874-1954) earned his living by selling insurance policies to his contemporaries. Besides, he took a great interest in literature, philosophy and, first and foremost, music. And what came of it? The most original modernist music one could imagine. Ives's Third Symphony was inspired by his memory of camp meetings, the Christian "evangelistic gatherings" common in his youth. However bizarre these meetings may appear to us, they were a familiar feature of rural America especially duri…
Universe Symphony / Second Symphony
The most ambitious and grandest of his projects would of course never see completion. For over forty years, Ives continued to supplement the material for his Universe Symphony, adding both notes and details. At some point, the scenario he envisaged got somewhat out of hand, Henry Cowell reported. “Several orchestras and large parties of singers, male and female, were to be placed in valleys, on mountain slopes and on summits,” and “6 to 10 different orchestras on several mountain tops, each movi…
Konzert für Violine und Orchester / Fasce
Rhapsodic, lyrical, virtuoso, and, in the end, even amusing: all these attributes come to mind as Cerha's violin concerto is finished off with a charming punch line.
Concerto for Prepared Piano and Chamber Orchestra / Sixty-Eight
For each of his compositions for prepared piano Cage created a specific piano preparation chart, setting out in meticulous detail the strings to be prepared, and the materials and manipulations to be used for preparing them. For the Concerto for Prepared Piano and Chamber Orchestra (1951), 53 tones of the keyboard must be prepared; and in this case Cage himself was astonished at the complexity of these preparations. The range of sounds is further expanded by an extra bridge installed in the pian…
Works For Prepared Piano
John Cage was a student of Henry Cowell and Arnold Schönberg and made use of innovations of both of his teachers, promptly integrating them into his own creativity – and turning them into something completely different. He adopted Henry Cowell's idea of altering the sound of a piano by interfering with the strings, thereby expanding the instrument's range of expression to a downright undreamed of extent. And as for Schönberg's twelve-tone system, Cage playfully extended it to a 25-tone system, o…
Music For Percussion Quartet
As early as in 1942, in Credo in Us, Cage employed not only a percussion ensemble but also sounds from the radio and records. Therefore, quite in accordance with what the composer would have wished, the materials used by the Percussion Ensemble Mainz in this recording range from Beethoven's fifth symphony (vinyl record, including the rustling) to ABBA, Tina Turner and advertising slogans. It goes without saying that rhythms play an important part in music for percussion. Cage, though, was also i…
Sonatas & Inteludes
The sonata originated in the Baroque as a small, one-movement form, which nevertheless already contained the core of the sonata to be later developed and composed in elaborate detail by the Viennese Classics. In his Sonatas and Interludes John Cage stuck to the concise, one-movement form, thus establishing a link to Scarlatti and Bach's preludes as well as to Chopin's Préludes and Satie's piano pieces. Other than many of his later, freer works, these small but complex gems are fixed and noted do…
Orchestral Works & Chamber Music
A conductor enjoys the privilege of being able to reconsider his attitude to musical works over and over again. The composer Boulez adheres to the same maxim: of his own compositions he regards only very few as being finished; most of them are, to him, "work in progress." The first two pieces on this collage CD were actually withdrawn by Boulez after their premiere as he wished to think them over again. Later on, Polyphonie X (1951) in view of its extremely strict serial procedure appeared to hi…
![Ekphrasis [Continuo II] / Coro](https://cdn.soundohm.com/data/products/013/luciano-berio-ekphrasis-continuo-ii-cor.jpg.500.jpg)
Ekphrasis [Continuo II] / Coro
The renowned American architects Sullivan, Wright and Mies van der Rohe are the center of attention in the composition Ekphrasis [Continuo II], even though originally Berio had no such thing in mind: "While I was working on Continuo, it was not my intention to compose a metaphor for architecture, or write a homage to the famous Chicago architects... Neither did I refer directly to the amusing but nevertheless solid constructions by Renzo Piano... However, as the work progressed I became aware th…
Un Re In Ascolto
A king listens: its subtitle identifies Un Re in ascolto, this special combination of music and drama, as a "musical action by Luciano Berio and Italo Calvino". A dialogue between composer and writer, between different forms of theater – and also, if you like, between Shakespeare and Thomas Bernhard. And, indeed, he is a "Theatermacher", an impresario, this Prospero (Theo Adam), who is accompanied by the director (Heinz Zednik) and the actor "Friday" (Helmut Lohner) and to whom a musical and sce…
Orchestral Works
The second CD of col legno's Wien Modern Edition is dedicated to Luciano Berio, who throughout his life kept on searching for new sounds, and new instrumental and orchestral organizing principles in his work. His Sequences for solo instruments are among the most important landmarks in recent music; later on, Berio decided to "comment" on some of these notoriously complex solo works from an orchestral perspective. Chemins and Chemins IIb are adaptations of the Sequences for harp and viola. "The b…
Musica Viva 11
Today, the piano concertos by Béla Bartók are regarded as works of classic modernism and are considered suitable even for conservative audiences. Musica Viva, the concert series for contemporary music in Munich, included the piano concertos in their program back in 1957, a time when it was by no means a matter of course to hear this music in established concert halls. The man at the piano was one of the greatest of his trade: Géza Anda, a fervent and uncompromising advocate of Bartók's oeuvre, w…
100 Transcendental Studies For Piano 1-25
Sorabji's style was deeply indebted to the music of the Middle East, some forms of which, during performance, last for hours or days at a time: his piano writing is typically elaborate from the torrential upward sweep in Mouvementé (I) via the wild and spiky V to the grotesque hammering angularity of XXV - a fantastic Medtnerian march. The dramatic and passionate writing in between …
Ghosts
This is the extraordinary sequence of composers selected by Marino Formenti for his solo piano cycle Kurtág’s Ghosts, which examines how major composers from the fourteenth to the twentieth century have influenced the Hungarian composer György Kurtág. Formenti has performed the seamless cycle of seventy compositions live to considerable acclaim, and it is now available as a 2 CD set from the Vienna-based label Kairos.A typical Kurtág’s Ghosts sequence is 46 seconds of Kurtág's Hommage à Stockhau…
Kafka-Fragments
A wonderful CD, recorded under Kurtag's supervision: the hour-long Kafka Fragments, completed in 1986, is his biggest work to date: it's a characteristic cycle of 40 tiny movements, scored for soprano voice and violin, that adds up to something far greater than the sum of its parts.The text is a mosaic of quotations from Kafka's writings, diaries and letters. The cycle is divided into four parts, articulated by the two longest movements; they draw a huge range of expression from soprano Juliane …
Works for Soprano
Kurtág's attachment to speech is also to be sensed in the works from this first period of maturity, something which emerged more concretely in this CD maily cenetered around the Russian language, which he learned especially in order to read Dostoevsky, and which is almost "sacred" for him, in the way that Latin was for Stravinsky. In his Russian works, opp 16 to 19, Kurtág's response to Russian prosody transforms his musical dialect with a poignant lyricism; this is to be heard both in the works…
Works
An amazing introduction to Kurtag's complex work, this cd Gyorgy Kurtag is a modern master of the musical miniature, this 66-minute disc, containing six works, is split into nearly forty tracks, absolutely essential!