75 Results for : berio
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Drama-Werke arr.für Bläser-Quintett
Voller Dramatik steckt die neue GENUIN-Themen-CD des Acelga Quintetts! Es handelt sich dabei um Originalwerke und Bearbeitungen für Bläserquintett von Luciano Berio, Franz Danzi, Jacob Gade, Claude-Paul Taffanel und Giuseppe Verdi. Alle Werke erzählen ihre eigene Geschichte, musikalisch-dramatisch gefasst: Vom Opernkrimi mit Mord und Totschlag bis zum Katerkampf im Hinterhof.- Shop: odax
- Price: 14.51 EUR excl. shipping
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AN ANTHOLOGY OF NOISE & ELECTR
Neuauflage der erfolgreichen Vol. 1. mit Stücken von 1921-2001 mit John Cage, Einstürzende Neubauten, Sonic Youth, Philip Jeck, Walter Ruttmann, Nam June Paik u.v.a.Neuauflage der erfolgreichen Vol. 1. mit Stücken von 1921-2001 mit John Cage, Einstürzende Neubauten, Sonic Youth, Philip Jeck, Walter Ruttmann, Nam June Paik u.v.a. THE GATHERING OF ECLECTIC NOISE MAKERS whereas composers like Stockhausen, Berio or Pousseur had come from serialism and began making electronic music as a continuation of their work with traditional instruments, others such as Boehmer or Oliveros composed right away on electronic bases, there were those who invented new methods, like Schaeffer and concrete music, others were outsiders, revolutionaries or visionaries like Xenakis or Cage, without forgetting the branch of sound derived from dada, the complex forms of free jazz, John Coltrane, the acoustic and electronic improvisation scene, rock of the alternative, psychedelic and industrial varieties,the German wave of the 1970s, the last generation of electronic musicians from the beginning or middle of the 1990s, DJs, reinventors of drones, painters or sculptors using sound, and process or software creators. The noise goes on. TRACKS: Luigi and Antonio Russolo (1921) John Cage (1965) Sonic Youth (1983) Einsturzende Neubauten(1998) Walter Ruttman (1930) Pierre Schaeffer (1948) Iannis Xenakis (1958) Paul D. Miller aka dj Spooky That Subliminal Kid (2001) Gordon Mumma (1965) Angus Maclise, Tony Conrad and John Cale (1965) Philip Jeck, Otomo Yoshihide and Martin Tétreault (2000) Survival Research Laboratories (1992) Konrad Boehmer (1966) Nam June Paik (1958-59) Henri Pousseur (1957) Edgard Varèse (1958) Pauline Oliveros (1966) Ryoji Ikeda (1997)- Shop: odax
- Price: 25.67 EUR excl. shipping
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Early Experimental Electronic
Pousseur Galore: Ab dem Jahre 1954 nahm der mit Stockhausen befreundete Pousseur als 25-jähriger in den legendären Kölner Studios für ektronische Musik seine ersten experimentellen Werke auf. In 1954, Henri Pousseur was twenty-five when he composed his first piece of electronic music in the studios of the Cologne radio, where Stockhausen (with whom he had a close relationship) had created most of his famous pieces. Released in our Early Electronic series. This seventh and penultimate installment in the series Henri Pousseur had programmed around his experimental and electronic music features his earliest works - his first steps. Henri Pousseur studied at the Academies of Music in Liège and in Brussels from 1947 to 1953. He was closely associated with Pierre Froidebise and André Souris. He encountered Pierre Boulez, Karlheinz Stockhausen and Luciano Berio and thereafter devoted himself to avant-garde research. Henri Pousseur has taught in Cologne, Basel, and in the United States at SUNY Buffalo, as well as in his native Belgium. From 1970 until his retirement in 1988 he taught at the University and Conservatory of Liège where he also founded the Centre de recherches et de formation musicales de Wallonie. All pieces included on this 2LP never been released on Sub Rosa before.- Shop: odax
- Price: 18.85 EUR excl. shipping
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Stories-Berio And Friends
Theatre of Voices, Paul Hillier (Dir)- Shop: odax
- Price: 18.69 EUR excl. shipping
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Music for Solo Cello
Cassado: Suite for solo cello I. Preludio - Fantasia II. Sardana (Danza) III. Intermezzo e danza finale Ysaye: Sonate Op. 28 for solo cello I. Lento e sempre sostenuto II. Poco allegretto e grazioso III. Adagio IV. Allegro Tempo fermo Ligeti: Sonate for solo cello I Dialogo II Capriccio Kodaly: Suite Op. 8 for solo cello I. Allegro maestoso ma appassionato II. Adagio III. Allegro molto vivace ---------------- When Johann Sebastian Bach composed his six cello suites around the year 1720, they were labeled "6 Suites a Violoncello Solo senza Basso." This curious title can be explained by the fact that it was a novelty at the time to write for cello alone, an example that would not be followed any time soon: not counting the various solo cello studies, capriccios, and other pieces composed by cellists for educational purposes, one needs to wait nearly two centuries before finding important repertoire in the medium. The famous Catalan cellist Pau Casals (1876-1973) was partially responsible for the rebirth of the solo cello repertoire: his "discovery" of Bach's cello suites at the beginning of his career and his subsequent efforts to propagate them helped convince the younger generation of composers to write for solo cello. The four works presented on this CD illustrate the rise of the modern solo cello repertoire. Common characteristics of this collection include a powerful rhetorical discourse, a rhapsodic character, and a complete technical mastery in writing for the instrument. That the four composers represented here had an excellent knowledge of the cello came from their own practical experience: Zoltán Kodály and György Ligeti had studied cello before becoming composers, the famous Belgian violinist Eugène Ysaÿe was competent enough to play the cello part in private chamber music evenings, and Gaspar Cassadó, Casals's student, was a celebrated cello virtuoso. Kodály's Sonata for Solo Cello, Op. 8 (1915) and Cassadó's Suite for Cello Solo (1925) are colored with regional flavor. As early as 1905, Zoltán Kodály (1882-1967) had traveled with Bartók to record the peasant and popular music of Central Europe. Reminiscences of these ethnomusicological travels are present in Kodály's sonata, not only in the imitation of traditional instruments (violin, percussion, cimbalom, etc.) and their modes of playing, but also in the poetic description of the landscapes in which the music was born. Perhaps in a more folkloric way but still with much panache and poetry, Gaspar Cassadó (1897-1966), in his Suite for Solo Cello, imitates flamenco singing and guitar playing. He also quotes the Catalan sardana dance with it's introduction for flabiol (Catalan piccolo recorder), it's grotesque cobla (traditional Catalan ensemble), and indispensable nostalgic solos played by the tible (Catalan shawm). Like Fritz Kreisler, Cassadó was accused of musicological crimes: he attributed some of his own compositions to famous composers of the past such as Frescobaldi, Couperin, Boccherini, and Schubert, calling them "transcriptions." A good example of Cassadó's skill in pastiche can be found in the second movement, Sardana, at the expression marking burlesco: here he literally forces the cellist to imitate the approximate intonation of a traditional village ensemble by writing a series of unisons in such wide fingering spans that no cellist can play them in tune. We should not forget to mention that the first theme of Cassadó's suite is an embellishment of the opening of Kodály's sonata, a nod to the older Hungarian composer. György Ligeti (1923-2006) wrote the two movements of his Sonata for Solo Cello at a five-year interval. The first part, composed in 1948 for a young cellist with whom he was secretly in love, consists of a musical dialogue between a woman and a man. The composer's gift was not reciprocated, however, and the work was left unperformed until Ligeti added a second movement in 1953 in response to a famous female cellist (with whom he was not in love, as the composer tells us), who commissioned a full sonata from him. During the communist period, the Hungarian Composer's Union refused to allow the work to be published or performed on the grounds that the second movement was too modern. This might amuse us today, because the work - composed under the influence of Kodály and Bartók - is much more traditional than Ligeti's later compositions. Like Cassadó and Casals, the violinist Eugène Ysaÿe (1858-1931) was a great admirer of Bach's solo works and among the first to include them on his concert programs. Ysaÿe shows his devotion to Bach in his Violin Sonata No. 2 "Obsession," where he quotes the opening of the Partita for Solo Violin in E-major. Although there are no direct quotations from Bach's solo violin works in Ysaÿe's Sonata for Solo Cello, Op. 28 (1923), we sense nevertheless that the famous violinist was more familiar with Bach's writing for solo violin than solo cello. This can be heard in the many chords and detailed contrapuntal writing, in Bach's solo cello works, chords are less frequent and the polyphonic lines are distributed in a more arpeggiated fashion. Ysaÿe's cello sonata, not as well-known as his six sonatas for violin but sharing many of the same difficulties, includes the composer's own fingerings. The work was dedicated to the Belgian cellist Maurice Dambois, with whom - along with pianist Yves Nat - Ysaÿe had formed a trio. While Pau Casals played a crucial role in the development of the solo cello repertoire at the beginning of the twentieth century, cellists such as Siegfried Palm and Mstislav Rostropovich inspired the following generations of composers. One needs only to reflect on composers such as Dallapiccola, Zimmermann, Henze, Scelsi, Britten, Sessions, Penderecki, Xenakis, Dutilleux, Ginastera, and Berio to understand the richness and diversity of the modern solo cello repertoire, which we hope to present to you in future recordings. NICOLAS DELETAILLE - TRANSLATION THOMAS SVATOS Nicolas Deletaille After having received his musical education in Belgium and in the USA, Nicolas Deletaille has begun his professional life as a concert performer. In the same time, he has recorded the Bach six Cello Suites, the Beethoven five Cello Sonatas, major works from the solo repertoire (Kodály, Cassadó, Ysaÿe, Ligeti) as well as chamber music CDs (Schubert, Dvorák, Franck, Tchaikovsky,...) Nicolas Deletaille has also earned distinction as an arpeggione player by recording the Schubert arpeggione sonata in the rare original arpeggione version with the vienese maestro Paul Badura-Skoda on an original 1820 pianoforte. Nicolas Deletaille has collaborated extensively with composers of our time. He has given approximately 50 world premiere creations, most of which were pieces written for him by composers from Belgium, France, Taiwan, USA, Italy, England, Switzerland, Korea, Norway and Canada. Nicolas Deletaille is currently a faculty member of the Eastern Mediterranean University, TRNC. Français Quand Johann Sebastian Bach composa ses six suites pour violoncelle vers 1720, elles furent baptisées « 6 Suites a Violoncello Solo senza Basso ». Ce titre curieusement redondant s'explique par l'originalité d'écrire à cette époque pour violoncelle seul. Cet exemple ne sera d'ailleurs pas suivi de longtemps : mis à part d'innombrables études, caprices et autres exercices de virtuosité, écrits par les violoncellistes eux-mêmes dans un but purement pédagogique, il faudra attendre que le célèbre violoncelliste catalan Pau Casals se fasse l'ambassadeur des Suites de Bach lors de ses tournées de concerts à l'aube du XXe siècle pour que des compositeurs se montrent peu à peu enclins à écrire des œuvres importantes pour violoncelle seul. Les quatre œuvres reprises sur ce CD, composées au cours de la première moitié du XXe siècle, s'inscrivent dans la cadre de ce développement du répertoire pour violoncelle seul. Elles ont en commun un discours rhétorique puissant, un c- Shop: odax
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Ladder of Escape 14: Berio - Music for Violin
No description.- Shop: odax
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Infinity - Gregorian in Progress
Dino Mariani Dino Mariani was born in Molise - Italy (1954). In 1965 he moved to Milan with his family. Since 1972 he studied at G.Verdi Conservatory where he graduated in Basson and Composition. He studied orchestral conducting at the 'Civica Scuola di Musica' of Milan. At the same time, once he finished the Scientific High Scool, he attended two years of Law Faculty which leaved to devote himself entirely to the musical studies. In the Seventies he lived the most varied musical experiences. He easily alternated between the academic studies, performances in 'classical' areas as soloist, in orchestra or chamber groups and perfomances in the various Pop and Jazz Festival of that time, both as a guitarist and as bassoonist, bringing for the first time this instrument out of the 'classical' ambit. He recorded several discs for many artists of Milan in that time. From 1978 to 1980 he played in the 'International Folk Group' of Moni Ovadia for whom, along with the inseparable friend oboist Mario Arcari, wrote most of musics recorded in 'Il nonno di Jonni' and 'Ensemble Havadi‡'.He played in the disc 'Le mille e una notte' for the homonymous show of 'Teatro dell'Elfo'.. With GFI accomplished several tours in Italy and Europe. At the same time he founded the DOM Democratic Orchestra Milano, big formation in which live together 'classical' musicians and 'young jazz musicians' still representative on the national scene,and not just, of the home-made jazz. He wrote for the DOM several pieces which for their characther of synthesis between classical and jazz, gained considerable interest of public and critics.. He conducted the same in important festivals in Italy and Europe, playing in first performance pieces written specifically for it by Enrico Rava, Antony Braxton, Alex Schlippenbach, Leroy Jenkins, Oliver Lake, etc. He finished this experience in 1984 recording the disc 'Invenzioni'. Since 1985 he devoted himself entirely to the composition. He studied with Sciarrino, Ferneyhaugh, Grisey, Rotondi, and Zosi Donatoni, deepening the knowledge of the most advanced techniques of composition and instrumental. He was awarded in many international contests of Composition from jury like Berio, Abbado, Petrassi, Huber, Pousseur, Morricone, Chailly, Ferneyhaugh, Donatoni, Sciarrino, Clementi ecc. And his music was performed in prestigious contexts both in Italy and abroad. To the increasingly introspective and isolated activity of Composer, he put side by side, from 1988 to till today, the teaching as a professor of Composition at different italians Conservatories. He lives, since some years, in Amalfitan Coast..Last work: 'INFINITY' has been conceived in the last months of 2006.As ripe rediscovery of 'simple', the return to primordial emotions. The enjoyment in returning to play different instruments: flutes, bassoon, sitar, keyboards, acoustic guitar, the old dear Fender Stratocaster. Inspiring source, 9 Gregorian Chants, as the orders of the angelic hosts grouped into three angelic choirs, sometimes freely transcribed, other philologically made mensurable. The 'Voice of the Soul' for excellence which alternates, merges with jazz and blues singing, in rhythmic contexts with progressive rock flavour, or pure melodic contexts in search of emotions. Dino Mariani - Musices Officina INFINITY - Gregorian in Progress Classical? Jazz? Blues? Rock? Pop? ...'the Voice of the Soul' meets the today's music... 'A pleasant surprise the work by Dino Mariani who seems to have found a finally convincing way in search for a music unrelated and independent from genres, as evidenced also from the structure of the group, with the most varied instruments whose mixture leads to original and new solutions.' La Repubblica 'The music of Dino Mariani, conductor, composer, polyinstrumentalist and gray eminence requires an uncommon culture and capacity for synthesis.' Il Giornale '...They amazed, surprised, innovated.' Jazz Magazine '...original music influenced by all the sound developments of the last years ... ' Progres '...on a collective basis of very beautiful orchestration, it gave very strong musical emotions. Here is a music to discover urgently.' Dino Mariani Nel 1954 nasce in Molise. Nel 1965 si trasferisce con la famiglia a Milano. Dal 1972 studia al Conservatorio G. Verdi dove si diplomerà in Fagotto e Composizione. Studia Direzione d'orchestra presso la Civica Scuola di Musica di Milano. Contemporaneamente, terminato il Liceo Scientifico, frequenta due anni la facoltà di Giurisprudenza che abbandona per dedicarsi totalmente agli studi musicali. Negli anni settanta vive intensamente le più svariate esperienze musicali. Alterna con disinvoltura gli studi accademici e le esibizioni in ambiti 'classici' come solista, in orchestra o gruppi da camera, alle esibizioni nei vari Festival Pop e Jazz dell'epoca, sia come chitarrista che come fagottista, portando tale strumento per la prima volta fuori dall'ambito 'classico'. Registra svariati dischi per molti artisti dell'area milanese dell'epoca. Dal 1978 al 1980 suona col Gruppo Folk Internazionale di Moni Ovadia per il quale, insieme all'allora inseparabile amico oboista Mario Arcari, scrive buona parte delle musiche incise in 'Il nonno di Jonni' e 'Ensemble Havadià'. Suona nel disco 'Le mille e una notte' per l'omonimo spettacolo del Teatro dell'Elfo.. Col GFI compie numerose tournées in Italia ed Europa. Contemporaneamente fonda la DOM Democratic Orchestra Milano, grossa formazione che vede convivere musicisti 'classici' e 'giovani jazzisti' tuttora rappresentativi sulla scena nazionale, e non solo, del jazz nostrano. Per la DOM scrive diversi brani che per il loro carattere di sintesi tra classico e jazz, riscuotono notevole interesse di pubblico e di critica.. Dirige la stessa in importanti festival in Italia e in Francia, suonando in prima esecuzione brani scritti appositamente per essa da Enrico Rava, Antony Braxton, Alex Schlippenbach, Leroy Jenkins, Oliver Lake, ecc. Termina tale esperienza nel 1984 incidendo il disco 'Invenzioni'. Dal 1985 si dedica totalmente alla Composizione. Studia con Sciarrino, Ferneyhaugh, Grisey, Rotondi, Zosi e Donatoni, approfondendo la conoscenza delle più avanzate tecniche compositive e strumentali. Viene premiato in numerosi Concorsi internazionali di Composizione da giurati come Berio, Abbado, Petrassi, Huber, Pousseur, Morricone, Chailly, Ferneyhaugh, Donatoni, Sciarrino, Clementi ecc. E le sue musiche sono eseguite in prestigiosi contesti sia in Italia che all'estero. Alla sempre più introspettiva e isolata attività di Compositore, affianca, dal 1988 a tutt'oggi, l' attività didattica,come docente di Composizione, presso diversi Conservatori italiani. Vive, da alcuni anni, in Costiera Amalfitana.. Ultima opera: ' INFINITY' viene concepito negli ultimi mesi del 2006. Come matura riscoperta del 'semplice', del ritorno alle emozioni primordiali. Il piacere nel tornare a suonare diversi strumenti: flauti, fagotto, sitar, tastiere, chitarra acustica, la cara vecchia Fender Stratocaster... Fonte ispiratrice, 9 Canti Gregoriani, come gli ordini delle schiere angeliche raggruppati in tre cori angelici, trascritti a volte liberamente, altre filologicamente mensuralizzati. Il 'Canto dell'Anima' per eccellenza che si alterna, si fonde col canto jazz, blues, in contesti ritmici dal sapore rock progressivo, o in puri contesti melodici in cerca di emozioni. INFINITY Gregorian in Progresss Dino Mariani - Musices Officina Classica? Jazz? Blues? Rock? Pop? ...il Canto dell'Anima incontra la musica d'oggi... Una piacevole sorpresa il lavoro di Dino Mariani che sembra aver imboccato una strada finalmente convincente nella ricerca di una musica slegata e indipendente dai generi, come testimonia anche la struttura del gruppo, con i più vari strumenti il cui impasto porta a soluzioni originali e inedite. La Repubblica La musica di Dino Mariani, direttore, compositore, pluristrumentista ed eminenza grigia presuppone- Shop: odax
- Price: 28.86 EUR excl. shipping
