Arvo Pärt – In Principio [ecm, 2009]
The eagerly-awaited new Pärt: Released 25 years after the Estonian composer started ECM’s New Series (“Tabula Rasa”, 1984), “In Principio” offers six compositions of different scale and instrumentation written between 1989 and 2005 thus allowing for an impressive overview of Pärt’s recent stylistic development.
The dramatic 25-minute “In principio” for mixed choir and large orchestra sets the famous opening of the gospel of St. John, “In principio erat Verbum”. In its five movements, “tintinnabuli”-diatonicism is contrasted with sophisticated harmonic procedures, massive brass chords are juxtaposed with almost stoic calm in the choir.
With most of Pärt’s more recent works, the score (2003) was written in response to a major commission.
The purely orchestral “La Sindone” (The holy shroud), mirroring the textile’s symbolic shine-through effects in delicate string-textures, was premièred in Turin during the 2006 Winter Olympics whereas “Caecilia, vergine romana” for mixed choir and orchestra is a commission from the organisation for the celebration of the jubilee of Rome in 2000.
“Da pacem Domine”, one of Pärt’s most serenely beautiful pieces responded in a very subtle way to the 2004 terror attacks in Madrid’s Atocha station. The piece which could be heard a cappella on the 2005- release “Lamentate” appears here in a striking new version with choir and strings.
The programme is completed by two instrumental compositions, “Mein Weg” (1989 / 1999 / 2000) and “Für Lennart in memoriam” a very still piece for the late Estonian president Lennart Georg Meri.
The exemplary interpretations by some of the best and most faithful Pärt specialists were recorded in Estonia with the assistance of the composer and will surely make for one of the strongest 2009 releases on ECM.
Tracklisting
I. In principio erat Verbum
II. Fuit homo missus a Deo
III. Erat lux vera
IV. Quotquot autem acceperunt sum
V. Et Verbum caro factum est
La Sidone for orchestra (premier recording)
Cecilia, vergine romana for mixed choir and orchestra (premier recording)
Da Pacem Domine for choir & orchestra
Mein Weg for 14 strings & percussion
Für Lennart in memoriam for string orchestra
Tallin Chamber Orchestra; Estonian Symphony Orchestra; Estonian Philharmonic Chamber Choir; Tõnu Kaljuste
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February 23, 2009
Posted by stupidand |
Arvo Pärt, Music_ClassicalModern, _MUSIC |
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John Cage: Works for Percussion (WER 62032)
Classical | APE & CUE | 3 parts / 207 Mb
John Cage: Works for Percussion (Quatuor Hêlios)
The French percussion ensemble Quatuor Hêlios has, since their inception in 1986, been dedicated to performing the early compositions of American avant-garde composer John Cage. Their 1991 release, John Cage: Works for Percussion, is a compilation of seven of compositions written by the groundbreaking composer between 1939 and 1943. Quatuor Hêlios, which takes its name from the mythical Greek sun god, performs Cage’s challenging compositions presented on this CD solidly. Played by members Isabelle Berteletti, Jean-Christophe Feldhandler, Florent Haladjian, and Lê Quan Ninh, the compositions on this release reflect Cage’s interest and dedication to the promotion of an often-overlooked component in traditional Western art music: rhythm. It was in 1933, after witnessing Varése’s percussion composition “Ionization” (1931) being performed at the Hollywood Bowl under the direction of conductor Nicolas Slonimsky, that the 21-year-old Cage decided to dedicate himself to writing percussive compositions for such instruments as coffee cans, snare drums, lion roars, prepared pianos, and conch shells.
While living in Seattle during 1938 and 1939, Cage collaborated with the experimental dancer and choreographer Merce Cunningham, organized a percussion ensemble, and began to work as a musical accompanist for dancers at Cornish College. Since stage space was limited at the tiny Cornish, Cage came up with the idea of mimicking the timbres and sounds of his percussion ensemble by preparing a standard piano’s strings with forks, springs, and other sundry miscellany. The John Cage: Works for Percussion CD contains a number of work’s that utilize prepared piano: “First Construction (In Metal),” “Second Construction,” “Amores,” and “She Is Asleep.” In 1939, Cage composed “Imaginary Landscape No. 1.” This work, which is not presented by the quartet on this CD, was written for two variable-speed turntables, frequency recordings, cymbal, and piano. During the same year, the prodigious 27-year-old composer wrote “First Construction in Metal.”
This ten-minute work, which is the concluding cut on this CD, ebbs and flows with amazing dynamics as it makes use of a large palette of metallic objects. By 1940, Cage had moved to San Francisco where he wrote this CD’s first track, “Second Construction..”
This work moves in and out of changing time signatures, prepared piano ostinatos, tom-tom melodies, and brake drum bells lines. The composition “Double Music,” which is the fourth of Cage’s works presented on this CD, is actually a collaboration with another American composer, Lou Harrison. Harrison’s fondness for the gamelan music of Bali and Java comes through in the complex interlocking rhythms and cyclical presentation of the various gongs on this cut.
As a member of the avant-garde, Cage is remembered alongside of such visionaries as Boulez, Berio, Stockhausen, Kagel, Cowell, as well as Harrison, to name but a few. His contribution to the world of music is immeasurable as he helped to open the minds and ears of Western audiences to the limitless possibilities inherent in percussive compositions.
―John Vallier, All Music Guide
Tracks:
Second construction [1940] (7:29)
Imaginary landscape no. 2 [1942] (5:22)
Amores [1943] (9:43)
Double music [1941] (4:39)
Third construction [1941] (10:06)
She is asleep [1943] (11:40)
First construction (in metal) [1939] (10:03)
Recorded “live in studio” at CCAM, Vandoeuvre-Lès-Nancy, France in July 1989
Cover photo: Marcel Duchamp’s A bruit secret, 1916
___________________________
Download links
http://www.ftp2share.com/file/13883/EAC.part1.exe.html
http://www.ftp2share.com/file/13907/EAC.part2.rar.html
http://www.ftp2share.com/file/13914/EAC.part3.rar.html
(Recovery Record Incl.)
Big thanks to the original poster
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Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
“Can’t we all just get the f**k along ?!”
September 19, 2008
Posted by stupidand |
John Cage, Music_Ambient, Music_ClassicalModern, Music_Experimental, _MUSIC |
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The 25-Year Retrospective Concert of the Music of John Cage (WER 6247-2) Classical | APE & CUE | 1995 | 3 CD / 6 parts / 519 Mb
The 25-Year Retrospective Concert of the Music of John Cage.
Various artists.
Recorded in performance at Town Hall, New York, May 15, 1958.
Reissued as Wergo WER 6247-2, 1994.
Disc 1
1 Six Short Inventions for Seven Instruments / Anahid Ajemian/Maro Ajemian/Douglas Allan/Joan Brockway/Melvyn Broiles/Earle Brown/Philip Brown…
2 First Construction in Metal / David Tudor
3 Imaginary Landscape No.1 / Anahid Ajemian/Maro Ajemian/Douglas Allan/Joan Brockway/Melvyn Broiles/Earle Brown/Philip Brown…
4 The Wonderful Widow of Eighteen Springs / Arline Carmen/John Cage
5 She is Asleep / Paul Price/Michael Colgrass/Warren Smith/Philip Brown
6 She is Asleep / Arline Carmen/John Cage
__________
Disc 2
1 Sons & Interludes: Sons I / Maro Ajemian
2 Sons & Interludes: Sons II / Maro Ajemian
3 Sons & Interludes: Sons III / Maro Ajemian
4 Sons & Interludes: Sons IV / Maro Ajemian
5 Sons & Interludes: Interlude / Maro Ajemian
6 Sons & Interludes: Sons V / Maro Ajemian
7 Sons & Interludes: Sons VI / Maro Ajemian
8 Sons & Interludes: Sons VII / Maro Ajemian
9 Sons & Interludes: Sons VIII / Maro Ajemian
10 Sons & Interludes: Second Interlude / Maro Ajemian
__________
Disc 3
1 Music for Carillon No.1 / David Tudor
2 Williams mix / Anahid Ajemian/Maro Ajemian/Douglas Allan/Joan Brockway/Melvyn Broiles/Earle Brown/Philip Brown…
3 Concert for Piano & Orchestra / Anahid Ajemian/Maro Ajemian/Douglas Allan/Joan Brockway/Melvyn Broiles/Earle Brown/Philip Brown…
Total Running Time: 1:44:50
Download links
CD 1: Part 1 & Part 2
CD 2: Part 1 & Part 2
CD 3: Part 1 & Part 2
(3% recovery record included)
Big thanks to the original poster
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Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
“Can’t we all just get the f**k along ?!”
September 19, 2008
Posted by stupidand |
John Cage, Music_Ambient, Music_ClassicalModern, Music_Experimental, _MUSIC |
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John Cage: Sonatas & Interludes for Prepared Piano (WER 60156-50)
Classical | APE & CUE | 1989 | 3 parts / 199 Mb
“As important, highly prized recording (WERGO 60151-50) which approaches Cage’s music without compromise … Pierce’s interpretation is a mixture of strength, poetry and beautiful harmonies.”
- Jean Francois Pioud, Etude Reveu, Paris, France, October 1989
John Cage: Sonatas & Interludes for Prepared Piano (1946-1948)
Joshua Pierce, Piano
Tracks:
Sonata 1
2
3
4
First Interlude
Sonata 5
6
7/ 8
Second Interlude
Third Interlude
Sonata 9
10
11
12
Fourth Interlude
Sonata 13
Sonatas 14 & 15 Gemini
Sonata 16
Download links
Part 1
Part 2
(3% recovery record included)
Big thanks to the original poster
NOTE:
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Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
“Can’t we all just get the f**k along ?!”
September 18, 2008
Posted by stupidand |
John Cage, Music_Ambient, Music_ClassicalModern, Music_Experimental, _MUSIC |
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John Cage: A Chance Operation (The John Cage Tribute) (1993)
Classical | EAC (APE & CUE) | 525 Mb
Various mirrors: Rapidshare, Depositfiles, Megaupload & more!
Some typical Cage genius/madness!
This two-CD set celebrating John Cage features works by various luminaries in the international avant-garde circle performing works by or in memoriam of the iconoclastic composer
John Cage.
Programmed to random play by the listener qua co-creator and mixed with whatever other sounds the listener brings to the listening space and whatever sounds happen to be present, the album becomes what Cage calls “real music,” not a relic of music: One hundred and forty-one minutes of 183 pieces of 23 works, in any order, with any other sounds!
The irony will not be lost on fans of Cage’s work that a recorded tribute album for a composer who disliked the recorded medium is at best a strange tribute. But that said, considering the uniqueness of the collection — and indeed the clout of the listed performers — even the most orthodox of Cage disciples will be pleased with this recording.
Performances range from David Tudor’s electronic explorations to Patrick Moraz’s performance of Cage’s “Dances for Prepared Piano.” Laurie Anderson is featured reading texts by Cage over her own compositions on several tracks, and these add a fair amount of unity to this sprawling collection.
The final work on this recording is entitled “New York City” and is an ambient recording of the environment outside Cage’s apartment.
Some would say that Frank Zappa’s participation alone in this project, featuring his rendition of Cage’s infamous 4′33″, is worth looking into.
Tracklisting *
CD 1
The Kronos Quartet : Pieces (30) for String Quartet: Excerpt(s)
1. Excerpts For Thirty Pieces For String Quartet
2. Excerpt From Thirty Pieces For String Quartet
Patrick Moraz: Three Dances for 2 Prepared Pianos: no 1
3. Three Dances For Prepared Piano, Dance #1
4. Dance 2: Three Dances for Prepared Piano
5. Dance 3: Three Dances for Prepared Piano
Jackson Mac Low, Anne Tardos: First Four-Language Word Event in Memoriam John Cage
6. First Four-Language Word Event in Memoriam John Cage
7. First Four-Language Word Event in Memoriam John Cage
8. First Four-Language Word Event in Memoriam John Cage
9. First Four-Language Word Event in Memoriam John Cage
10. First Four-Language Word Event in Memoriam John Cage
11. First Four-Language Word Event in Memoriam John Cage
12. First Four-Language Word Event in Memoriam John Cage
13. First Four-Language Word Event in Memoriam John Cage
14. First Four-Language Word Event in Memoriam John Cage
Christian Wolff, Roger Zahab: Six Melodies Variation for Solo Violin
Ken Nordine Ken Nordine: A Cage Went in Search of a Bird
Earle Brown: Three Solos for Trumpet
Laurie Anderson: Cunningham Stories (At the Age of Twelve…)
Ryuichi Sakamoto: Haiku FM
Larry Austin, Robert Black: Art Is Self-Alteration Is Cage Is
David Tudor: Webwork
Yoko Ono: Georgia Stone
CD 2
Laurie Anderson: Cunningham Stories (Merce Cunningham Phoned His Mother…)
Oregon (Ralph Towner, Glen Moore, Paul McCandless ): Chance/Choice
Takehisa Kosugi: 75 Letters and Improvisation
David Van Tieghem: Living Room Music
James Tenney: Ergodos I for John Cage
Laurie Anderson: Cunningham Stories (Every Morning…)
Robert Ashley: Factory Preset
Frank Zappa: 4′ 33″
John Cale: In Memoriam John Cage — Call Waiting
Meredith Monk: Aria
Laurie Anderson: Cunningham Stories (The Cunningham Company…)
New York City (recorded outside of John Cage’s apartment in New York City)
* You may find detailed information on this CD, including complete track listing, widely available on the web.
Koch 3-7238-2 Y6×2
Here she be:
CD 1
CD 2
(3% recovery record included)
Big thanks to the original poster
We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.
Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
“Can’t we all just get the f**k along ?!”
September 18, 2008
Posted by stupidand |
John Cage, Kronos Quartet, Laurie Anderson, MUSIC, Music_Ambient, Music_ClassicalModern, Music_Experimental, _ART |
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Darjeeling Limited Soundtrack (2007)
Released September 25, 2007
Genre Film Score / Rock / Classical
Length 55:48
Label ABKCO
Producer Wes Anderson and Randall Poster
We do like Wes Anderson’s films! We’ve posted a lot of his OST and other stuff before – including the DVD for this film – HERE!
He’s a genius at placing music within his works.
And here once more is another quirky, disjointed, excellent soundtrack from a Wes Anderson film. A wonderfully eclectic album!
A lot of Indian music here …. unsurprisingly!
Most of the album features film score music composed by great Bengali filmmaker Satyajit Ray and other artists from the cinema of India. The works include “Charu’s Theme”, from Ray’s acclaimed 1964 film, Charulata.
The album also features three songs by
The Kinks, “Powerman”, “Strangers” and “This Time Tomorrow”, all from the 1970 album Lola versus Powerman and the Moneygoround, Part One,
The album also features “Play With Fire” by The Rolling Stones. This is actually the first Wes Anderson soundtrack album to feature a song by The Rolling Stones – since, although Bottle Rocket, Rushmore, and The Royal Tenenbaums all featured Rolling Stones songs, contractual reasons prevented the songs from appearing on the soundtrack albums!
Warning! There is one vile Peter Sarstedt track here!
The film is the first of Anderson’s not to feature music by Devo’s Mark Mothersbaugh.
Tracklisting
1. “Where Do You Go To (My Lovely)” (Peter Sarstedt) – 4:38
2. “Title Music” (Vilayat Khan) – 2:25
* From Satyajit Ray’s Jalsaghar
3. “This Time Tomorrow” (The Kinks) – 3:25
4. “Title Music” (Satyajit Ray) – 1:25
* From Satyajit Ray’s Teen Kanya
5. “Title Music” (Jyotitindra Moitra) – 1:37
* From Merchant Ivory’s The Householder
* Performed by Jyotitindra Moitra and Ali Akbar Khan
6. “Ruku Room” (Satyajit Ray) – 0:49
* From Satayajit Ray’s Joi Baba Felunath
7. “Charu’s Theme” (Satyajit Ray) – 1:01
* From Ray’s 1964 film, Charulata
8. “Title Music” (Shankar Jaikishan) – 2:33
* From Merchant Ivory’s Bombay Talkie
9. “Montage” (Satyajit Ray) – 1:15
* From Nityananda Datta’s Baksa Badal
10. “Prayer” (Jodphur Sikh Temple Congregation) – 1:07
11. “Farewell to Earnest” (Jyotitindra Moitra) – 1:59
* From Merchant Ivory’s The Householder
12. “The Deserted Ballroom” (Satyajit Ray) – 0:46
* From Merchant Ivory’s Shakespeare Wallah
13. “Suite Bergamasque: 3. Clair de Lune” (Claude Debussy) – 4:57
* Performed by Alexis Weissenberg
14. “Typewriter Tip, Tip Tip” (Shankar Jaikishan) – 4:37
* From Merchant Ivory’s Bombay Talkie
15. “Memorial” (Narlai Village Troubador) – 1:26
16. “Strangers” (The Kinks) – 3:20
17. “Praise Him” (Udaipur Convent School Nuns) – 0:43
18. “Symphony No. 7 in A (Op. 92): Allegro Con Brio” (Ludwig van Beethoven) – 6:48
* Performed by Fritz Reiner and the Chicago Symphony Orchestra
19. “Play With Fire” (The Rolling Stones) – 2:15
20. “Arrival in Benaras” (Vilayat Khan) – 1:44
* From Merchant Ivory’s The Guru
21. “Powerman” (The Kinks) – 4:19
22. “Les Champs-Élysées” (Joe Dassin) – 2:39
Here she be:
We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.
Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
“Can’t we all just get the f**k along ?!”
September 16, 2008
Posted by stupidand |
Mark Mothersbaugh, Music_ClassicalModern, Music_ClassicRock, Music_OST, OTHER_CINEMA, Rolling Stones, Satyajit Ray, The Kinks, Various Artists, Wes Anderson, _MUSIC |
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Ennio Morricone – Note Di Pace (2008) 180 kbps VBR More marvellous music from the peerless Ennio!
After his last release ( Live at Arena – Verona ) with over 150.000 sold copies, the maestro comes back with a new special release, dedicated to his 80th birthday party (Nov 2008 )!
Celebrated all over the world for his incredible music, this product is dedicated by the great musician to all people that need the real peace all over the world.
Tracklisting
1. Tema Di Deborah (dal Film C’era Una Volta In 4:25
America)
2. Addio Monti (dal Film I Promessi Sposi) 3:00
3. Vatel 4:53
4. H2S 2:36
5. Il Clan Dei Siciliani 3:32
6. Metti, Una Sera A Cena 3:53
7. Cinema Paradiso 5:53
8. Here’s To You (Dal Film Sacco E Vanzetti) 4:04
9. Il Buono, Il Brutto E Il Cattivo – Titoli 2:47
10.C’era Una Volta Il West 3:21
11.Giu’ La Testa 3:40
12.L’Estasi Dell’Oro (Dal Film Il Buono, Il 3:22
Brutto E Il Cattivo)
13.Indagine Su Un Cittadino Al Di Sopra Di Ogni 3:03
Sospetto
14.A Brisa Do Coraτao (Dal Film Sostiene Pereira) 3:17
15.La Classe Operaia Va In Paradiso 3:46
16.Vittime Di Guerra 8:44
17.Abolisson (Dal Film Quemada) 4:27
18.Gabriel’s Oboe (Dal Film Mission) 2:17
19.Falls (Dal Film Mission) 2:57
20.On Earth As It Is In Heaven (Dal Film Mission) 3:53
thanks to iraklis and the original poster
“Can’t we all just get the f**k along ?!”
September 12, 2008
Posted by stupidand |
Ennio Morricone, Music_ClassicalModern, music_Spiritual, _MUSIC |
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Elliott Sharp – Sferics (1996) Atonal Records
~dedicated to Sonny Sharrock~
Elliott Sharp (solo fretless guitar, spring bow, e-bow)
Description: E# Haromonic Explorations
Time
Source Taproot 9:17
Event Horizon 12:18
Oscuro 12:19
Teak 11:27
Clarify 10:58
Threshold 4:57
Gamma Return 6:04
Elliott Sharp – Quadrature (2005) Zoar Records
~the first release in the Zoar Portal Series, limited to 200 copies~
Elliott Sharp (solo Electroacoustic Guitar w/ e-bow & slide)
Description: E# Blues & Harmonic Explorations
Escape Velocity (9:35)
Angularus (10:28)
Paracentric (13:58)
Lamina (11.41)
Lissajous (9:34)
Elliott Sharp – The Velocity of Hue (2003)
Emanem Records
Elliott Sharp (solo acoustic Godin Duel Multiac guitar modified with a Dobro bridge using pluck, slide and e-bow)
Description: E# Blues
THE VELOCITY OF HUE – 1:31
THE SKEPTIC – 4:20
ANAMNESIA – 5:50
KURU – 2:17
THE FACE OF ANOTHER – 2:44
BEAKS AND BEANS – 6:17
NEBEL – 5:21
EUWRECKA – 8:17
ICONTACT – 4:14
POLYTOPE – 3:29
CIRCADIA – 8:42
GAGERS AND GAN – 2:33
RECOGNITION – 7:00
OTOLITH – 5:27
May 31, 2008
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John Adams: Grand Pianola Music / Steve Reich: Vermont Counterpoint (1985)
Classical | EAC, APE & CUE) | 243 MB
Various mirrors: Rapidshare, Depositfiles, Megaupload & more!
Grand Pianola Music (1982) is scored for a small orchestra of winds, percussion, sopranos, and two pianos, and has a light-hearted, humorous, and, at times, sharply parodistic edge.
The work is something akin to a musical ex¬orcism: In it John Adams has brought together a variety of elements from his musical past, including the marches and band music he played in his youth, a touch of Gospel, some Beethovenian piano writing-and even a patently diatonic theme that is reworked until it becomes an archetypal minimalist figure.
Steve Reich’s Vermont Counterpoint, dedicated to Betty Freeman, is scored for three alto flutes, three flutes, and three piccolos, plus two solo lines in each of which the soloist plays, one at a time, all three instruments.
For this recording, Ransom Wilson taped all nine ensemble parts plus one solo line, and then added the “live” solo line as the final touch.
Tracklisting
John Adams
Grand Pianola Music
for 3 sopranos, 2 pianos, winds, brass & percussion 32:08
Pamela Wood Ambush, soprano
Jane Bryden, soprano
Kimball Wheeler, soprano
Ursula Oppens, piano
Alan Feinberg, piano
Solisti New York
Ransom Wilson, conductor
1. 1st & 2nd Movement
2. 3rd Movement (“On the Dominany Divide”)
Steve Reich
3. Vermont Counterpoint, for piccolo, flutes & tape 8:49
Ransom Wilson, flute
This work is scored for three alto flutes, three flutes, and three piccolos, plus two solo lines in each of which the soloist plays all three instruments. In performance all but one solo line are intended to be heard on tape. On this recording Ransom Wilson plays all eleven parts.
4. Eight Lines (revision of “Octet”), for chamber orchestra 18:12
Solisti New York
Ransom Wilson, conductor
Angel 7 47331-2
Thanks peachfuzz
http://stupidd.blogspot.com/
April 28, 2008
Posted by stupidand |
John Adams, Music_ClassicalModern, Steve Reich, _MUSIC |
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Elliott Carter: Music of Elliot Carter, Volume 7 (2005)
Classical | EAC, APE & CUE) | 233 MB
Various mirrors: Rapidshare, Depositfiles, Megaupload & more!
A 2007 Grammy Nominee for Best Contemporary Composition, this highly anticipated recording presents the first recordings of four major Elliott Carter compositions conducted by the distinguished British conductor, Oliver Knussen.
These recordings tell the amazing tale of an American composer, well into his nineties, continuing to produce highly complex, sophisticated scores with an energy that would hardly be conceivable even in a much younger man.
“Dialogues for piano and chamber orchestra” was a BBC Radio 3 commission for the brilliant young British pianist Nicolas Hodges and is scored for piano solo and a chamber orchestra comprising 18 instruments.
“Boston Concerto” was commissioned by the Boston Symphony Orchestra, and is based on a William Carlos Williams poem, “Rain”, a verse chosen to convey the composer’s enduring love for his wife Helen, the dedicatee of Boston Concerto.
Carter’s “Cello Concerto” is a twenty minute span introduced by the soloist alone, playing a cantilena that presents ideas later to be expanded into a series of linked movements. Scored for a large orchestra that frequently plays with intimately drawn orchestral textures, the Cello Concerto was commissioned by the Chicago Symphony Orchestra and was first performed by the CSO with Yo Yo Ma as cellist and Daniel Barenboim as the conductor.
Carter completed the concise 12 minute “ASKO Concerto” in January 2000 to a commission from the Asko Ensemble of Amsterdam and the recording on this disc is of its first performance in the Concertgebouw on April 26 of that year.
The Music of Elliott Carter, Vol. 7
Dialogues (2003)
Nicolas Hodges, piano
London Sinfonietta
Oliver Knussen, conductor
Boston Concerto (2002)
BBC Symphony Orchestra
Oliver Knussen, conductor
Cello Concerto (2001)
Fred Sherry, cello
BBC Symphony Orchestra
Oliver Knussen, conductor
ASKO Concerto (2000)
Asko Ensemble
Oliver Knussen, conductor
BRIDGE 9184
Here’s Elliott;
Thanks peachfuzz
http://stupidd.blogspot.com/
April 28, 2008
Posted by stupidand |
Elliott Carter, Music_ClassicalModern, _MUSIC |
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John Adams: I Was Looking at the Ceiling & Then I Saw the Sky (1998)
Classical | EAC, APE & CUE) | 349 MB
Various mirrors: Rapidshare, Depositfiles, Megaupload & more!
Composer’s Notes;
I was looking at the ceiling and then I saw the sky was a quote from a survivor of the 1994 Northridge earthquake, a catastrophe that devastated a large part of the northern Los Angeles area.
The librettist June Jordan found this phrase in the Los Angeles Times and offered it to me as the title for what I wanted to be a Broadway-style show.
After composing two grand operas, “Nixon in China” and “The Death of Klinghoffer,” I’d realized that the only truly indigenous form of American musical theater was what we call, for lack of a more precise term, the “musical.”
My first appearance onstage as a child was in a small-town production of Rogers and Hammerstein’s “South Pacific”, with my mother acting the role of Bloody Mary.
In my youth I knew all the famous American shows more or less by heart, and my later discovery of “West Side Story” convinced me that this particular theatrical form could actually attain the level of genuine art. Another American icon, Gershwin’s “Porgy and Bess”, also stood as a model although as a theaterical entity it had serious formal problems.
John Adams
I Was Looking at the Ceiling & Then I Saw the Sky
A song play in two acts
Music by John Adams
Libretto by June Jordan
Directed by Peter Sellars
1. Ensemble – I was Looking at the Ceiling and then I Saw the Sky 8:05
2. A Sermon on Romance 3:11
3. Consuelo’s Dream 4:55
4. Mike’s Song about Arresting a Particular Individual 3:22
5. Tiffany’s Solo 4:52
6. Song About The On-Site Altercation 2:51
7. Song About The Bad Boys And The News 6:20
8. Your Honor My Client He’s A Young Black Man 5:40
9. Leila’s song: Alone (Again or at Last) 4:17
10. Three Weeks and I’m Still Outta My Mind 5:12
11. Crushed by the Rock I Been Standing On 4:37
12. Dewain’s Song of Liberation and Surprise 5:29
13. Este Pais/This Country 4:27
14. One Last Look at the Angel in your Eyes 2:00
15. Finale
Audra McDonald, Soprano (Consuelo)
Richard Muenz, Baritone (Mike)
Marin Mazzie, Soprano (Tiffany)
Michael McElroy, Voice (Dewain)
Welly Yang, Voice (Rick)
Angela Teek, Voice (Leila)
Darius De Haas, Voice (David)
Seppo Kantonen, Piano
Marja Mutru, Keyboard
Markku Tabell, Keyboard
Janne Murto, Saxophone
Kari Tenkanen, Clarinet
Hannu Rantanen, Electric Double Bass
Jari Nieminen, Guitar
Jari-Pekka Karvonen, Percussion
John Adams, Conductor
Nonesuch 79473-2
Here’s the sky;
April 28, 2008
Posted by stupidand |
John Adams, Kronos Quartet, Music_ClassicalModern, _MUSIC |
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Daniel Variations (April 7, 2008)
Composer Steve Reich has called Daniel Variations”A memorial and a remembrance” of slain Wall Street Journal reporter Daniel Pearl.
He embarked upon the piece at the behest of Pearl’s father Judea and the Daniel Pearl Foundation, an organization dedicated to crosscultural understanding through journalism, music and innovative communication.
The elder Pearl has said, “Danny was a highly principled person, a gentle soul and a mighty good journalist. He became an icon, and this work by Reich is a tribute to a life that personified our culture, our principles and our dreams.” When the piece received its world premiere on October 8, 2006, at London’s Barbican Hall (as part of the Barbican’s festival Phases, to mark Reich’s 70th birthday), the Guardian called it ‘A haunting work that circles around alternating ideas of celebration and discord.’
‘Daniel Variations’ is both moving and unsettling, and, for the most part, understandably dark in tone. Alex Ross of the New Yorker observed that, in Reich’s writing, there is ‘A new influx of coiled power: fleets of pianos and percussion tap out telegraphic patterns, warning of the next big crash.’
But Reich does offer a glimmer of hope to counterbalance the sense of dread, and the piece is ultimately an uplifting one. Over the course of four movements and approximately 30 minutes, Reich juxtaposes words from Pearl’s life – including his final words – with phrases taken from the Old Testament’s Book Of Daniel. Reich quotes haunting verses in which the prophet Daniel, enslaved in Babylon – the modern-day Iraq – is ordered to interpret the ominous dreams of King Nebuchadnezzar, which suggest a wave of terror to come.
In the 2nd and 4th movements, which include lyrical passages written for a string section, Reich evokes the spirit of the modern-day Daniel, who was a violinist as well as a reporter. Pearl was, says Reich, “Someone who stands beautifully and grotesquely at the same time as a symbol of thousands of innocent victims…he was murdered while trying to really give a fair shake to all concerned.”
Tracklisting
01. Daniel Variations (2006) – I. I Saw A 06:24
02. Daniel Variations (2006) – II. My Nam 08:23
03. Daniel Variations (2006) – III. Let t 04:43
04. Daniel Variations (2006) – IV. I Sure 10:10
05. Variations for Vibes, Pianos & String 11:35
06. Variations for Vibes, Pianos & String 06:52
07. Variations for Vibes, Pianos & String 03:34
April 3, 2008
Posted by stupidand |
Music_ClassicalModern, Steve Reich, _MUSIC |
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Daniel Variations (April 7, 2008)
Composer Steve Reich has called Daniel Variations”A memorial and a remembrance” of slain Wall Street Journal reporter Daniel Pearl.
He embarked upon the piece at the behest of Pearl’s father Judea and the Daniel Pearl Foundation, an organization dedicated to crosscultural understanding through journalism, music and innovative communication.
The elder Pearl has said, “Danny was a highly principled person, a gentle soul and a mighty good journalist. He became an icon, and this work by Reich is a tribute to a life that personified our culture, our principles and our dreams.” When the piece received its world premiere on October 8, 2006, at London’s Barbican Hall (as part of the Barbican’s festival Phases, to mark Reich’s 70th birthday), the Guardian called it ‘A haunting work that circles around alternating ideas of celebration and discord.’
‘Daniel Variations’ is both moving and unsettling, and, for the most part, understandably dark in tone. Alex Ross of the New Yorker observed that, in Reich’s writing, there is ‘A new influx of coiled power: fleets of pianos and percussion tap out telegraphic patterns, warning of the next big crash.’
But Reich does offer a glimmer of hope to counterbalance the sense of dread, and the piece is ultimately an uplifting one. Over the course of four movements and approximately 30 minutes, Reich juxtaposes words from Pearl’s life – including his final words – with phrases taken from the Old Testament’s Book Of Daniel. Reich quotes haunting verses in which the prophet Daniel, enslaved in Babylon – the modern-day Iraq – is ordered to interpret the ominous dreams of King Nebuchadnezzar, which suggest a wave of terror to come.
In the 2nd and 4th movements, which include lyrical passages written for a string section, Reich evokes the spirit of the modern-day Daniel, who was a violinist as well as a reporter. Pearl was, says Reich, “Someone who stands beautifully and grotesquely at the same time as a symbol of thousands of innocent victims…he was murdered while trying to really give a fair shake to all concerned.”
Tracklisting
01. Daniel Variations (2006) – I. I Saw A 06:24
02. Daniel Variations (2006) – II. My Nam 08:23
03. Daniel Variations (2006) – III. Let t 04:43
04. Daniel Variations (2006) – IV. I Sure 10:10
05. Variations for Vibes, Pianos & String 11:35
06. Variations for Vibes, Pianos & String 06:52
07. Variations for Vibes, Pianos & String 03:34
April 3, 2008
Posted by stupidand |
Music_ClassicalModern, Steve Reich, _MUSIC |
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Anjani Thomas – Blue AlertModern /2006 /mp3VBR320 / 93MB / RS
Anjani Thomas has been writing and recording since the 1980s after graduating from the Berklee College of Music.
A skilled jazz pianist, her break came from her mentor, Leonard Cohen (with whom she has been working since 1984), when she sang on the wonderful “Hallelujah” on Cohen’s 1985 Various Positions LP.
Most recently Anjani played such an integral part of Lenny’s tremendous 2004 recording, Dear Heather, where she sang, played keyboards and co-wrote two of the songs.
On her Columbia debut Blue Alert , Thomas again draws upon the genius of Leonard Cohen and they pair up fantastically well once more.
Anjani co-wrote and/or finished previous fragments of unpublished Cohen poems, lyrics from songs, and pieces in his notebooks and journals. Lenny then produced the album.
The lyrics are of course superb throughout the entire album, no less than you would expect from that greatest of lyricists Laughing Lenny!
The result is a sultry, smoky, spiritual record, where flesh and heart are not separate entities but intertwine and whisper together.
The record begins with a soft yet pronounced exhale and a piano chord by Anjani, and she sings these typically Leonard lyrics;
There’s perfume burning in the airBits of beauty everywhereShrapnel flyingSoldier hit the dirtShe comes so close you feel her thenShe tells you noAnd no againYour lip is cutOn the edge of her pleated skirtBlue alert.
It’s a song of fiery hazing desire and the dark disappointment of desire thwarted:
It’s just another night I guess
Another night of nakedness
You even touch yourself
You’re such a flirt
This is torch singing on an entirely new level. Her piano playing is carved in Bill Evans harmonics, and the melodic invention that comes simultaneously from George Shearing, Ahmad Jamal, and even Vince Guaraldi.
The music is inherently sexy, but that’s only the surface. Skin is the entity easily witnessed and categorised but spirit is the house it comes from.
In “Innermost Door“, with a an easy, skeletal blues frame, Anjani brings home the real fabric and the oft-futile yet unfaltering hope of heartbreak.
I must go back to the place it began
To the place where I was a woman
And you were a man
If you come with me
I’ll never begin
This album is a difficult journey to somewhere. A journey through love and the shadows of love.
A journey thorned with lust, need, sex, sin, redemption, revelation, regret, gratitude. A journey where the spirit grows or shrinks or hides, where it mutates with the state of love.
A journey where the coming together and breaking apart of relations are all powerful, enduring and transforming according to circumstance. A journey where nothing is coincidence.
This is the journey where, as the old Portuguese proverb says, “God writes straight with crooked lines.”
The beautifully spare instrumentation on this album is wonderful.
On “Half the Perfect World” Anjani plays a beautiful jazz figure, gently swinging, on the classical guitar, underscoring a most beautiful song of memory and loss as absorbed in the present.
In “Blue Alert” there’s a baritone saxophone; on the country-tinged lounge tune “Never Got to Love You” Thomas’ piano waltz is accompanied by the lap steel of ace studio musician Greg Leisz and Danny Frankel’s soft touch on the drum kit.
There are strings on “Crazy to Love You” and a clarinet and electric keyboards on the amazing “Thanks for the Dance“, one of the most startling songs on this LP and also the one which closes it.
The sparse arrangements and instrumentation are important because Thomas’ voice is an instrument in itself.
A voice that goes beyond the words and the melodies that carry it to the fore. A voice from the innermost centre, not so much deep as full and primal.
“The Mist“, another waltz, sounds like a Celtic folk song sung from the weeping face of wild hills into angry crashing seas:
As the mist leaves no scarOn the dark green hillSo my body leaves no scarOn you, nor ever willAs the many nights endureWithout a moon or starSo we will endureWhen one is gone and far
Finally, there is “Thanks for the Dance,” an old-timey lounge tune. It feels like closing time on love, but love endures and is acknowledged as something so much deeper that cannot be understood in the moment:
And there’s nothing to doBut to wonder if youAre as hopeless as meAnd as decentWe’re joined in the spiritJoined at the hipJoined in the panicWondering ifWe’ve come to some sortof agreement
Yes, as the song says we’ve come to some sort of agreement. And the agreement, the partnership between Thomas and Cohen, is thus the blossoming of a brave artist who dares to work with one of the greatest artists of all time and establish a voice unmistakably her own: profound, unfettered, sensual, spiritual, and poetically impure — elegant and tattered, spiritually drunken and inherently beautiful.
Above all it is a truly honest voice that articulates the heart’s cryptic language – sometimes rough, often confounding, and always dangerous, with an elegance and a grace that only reveals the terrible beautiful truth of itself in the emptiness of trying to sleep at 4 a.m. on a tear-soaked pillow, alone.
Check out Anjani’s website; http://www.anjani-music.com
Banzai !
March 14, 2008
Posted by stupidand |
Anjani Thomas, Leonard Cohen, Music_ClassicalModern, Music_Jazz, _MUSIC |
Leave a Comment
Anjani Thomas – Blue AlertModern /2006 /mp3VBR320 / 93MB / RS
Anjani Thomas has been writing and recording since the 1980s after graduating from the Berklee College of Music.
A skilled jazz pianist, her break came from her mentor, Leonard Cohen (with whom she has been working since 1984), when she sang on the wonderful “Hallelujah” on Cohen’s 1985 Various Positions LP.
Most recently Anjani played such an integral part of Lenny’s tremendous 2004 recording, Dear Heather, where she sang, played keyboards and co-wrote two of the songs.
On her Columbia debut Blue Alert , Thomas again draws upon the genius of Leonard Cohen and they pair up fantastically well once more.
Anjani co-wrote and/or finished previous fragments of unpublished Cohen poems, lyrics from songs, and pieces in his notebooks and journals. Lenny then produced the album.
The lyrics are of course superb throughout the entire album, no less than you would expect from that greatest of lyricists Laughing Lenny!
The result is a sultry, smoky, spiritual record, where flesh and heart are not separate entities but intertwine and whisper together.
The record begins with a soft yet pronounced exhale and a piano chord by Anjani, and she sings these typically Leonard lyrics;
There’s perfume burning in the airBits of beauty everywhereShrapnel flyingSoldier hit the dirtShe comes so close you feel her thenShe tells you noAnd no againYour lip is cutOn the edge of her pleated skirtBlue alert.
It’s a song of fiery hazing desire and the dark disappointment of desire thwarted:
It’s just another night I guess
Another night of nakedness
You even touch yourself
You’re such a flirt
This is torch singing on an entirely new level. Her piano playing is carved in Bill Evans harmonics, and the melodic invention that comes simultaneously from George Shearing, Ahmad Jamal, and even Vince Guaraldi.
The music is inherently sexy, but that’s only the surface. Skin is the entity easily witnessed and categorised but spirit is the house it comes from.
In “Innermost Door“, with a an easy, skeletal blues frame, Anjani brings home the real fabric and the oft-futile yet unfaltering hope of heartbreak.
I must go back to the place it began
To the place where I was a woman
And you were a man
If you come with me
I’ll never begin
This album is a difficult journey to somewhere. A journey through love and the shadows of love.
A journey thorned with lust, need, sex, sin, redemption, revelation, regret, gratitude. A journey where the spirit grows or shrinks or hides, where it mutates with the state of love.
A journey where the coming together and breaking apart of relations are all powerful, enduring and transforming according to circumstance. A journey where nothing is coincidence.
This is the journey where, as the old Portuguese proverb says, “God writes straight with crooked lines.”
The beautifully spare instrumentation on this album is wonderful.
On “Half the Perfect World” Anjani plays a beautiful jazz figure, gently swinging, on the classical guitar, underscoring a most beautiful song of memory and loss as absorbed in the present.
In “Blue Alert” there’s a baritone saxophone; on the country-tinged lounge tune “Never Got to Love You” Thomas’ piano waltz is accompanied by the lap steel of ace studio musician Greg Leisz and Danny Frankel’s soft touch on the drum kit.
There are strings on “Crazy to Love You” and a clarinet and electric keyboards on the amazing “Thanks for the Dance“, one of the most startling songs on this LP and also the one which closes it.
The sparse arrangements and instrumentation are important because Thomas’ voice is an instrument in itself.
A voice that goes beyond the words and the melodies that carry it to the fore. A voice from the innermost centre, not so much deep as full and primal.
“The Mist“, another waltz, sounds like a Celtic folk song sung from the weeping face of wild hills into angry crashing seas:
As the mist leaves no scarOn the dark green hillSo my body leaves no scarOn you, nor ever willAs the many nights endureWithout a moon or starSo we will endureWhen one is gone and far
Finally, there is “Thanks for the Dance,” an old-timey lounge tune. It feels like closing time on love, but love endures and is acknowledged as something so much deeper that cannot be understood in the moment:
And there’s nothing to doBut to wonder if youAre as hopeless as meAnd as decentWe’re joined in the spiritJoined at the hipJoined in the panicWondering ifWe’ve come to some sortof agreement
Yes, as the song says we’ve come to some sort of agreement. And the agreement, the partnership between Thomas and Cohen, is thus the blossoming of a brave artist who dares to work with one of the greatest artists of all time and establish a voice unmistakably her own: profound, unfettered, sensual, spiritual, and poetically impure — elegant and tattered, spiritually drunken and inherently beautiful.
Above all it is a truly honest voice that articulates the heart’s cryptic language – sometimes rough, often confounding, and always dangerous, with an elegance and a grace that only reveals the terrible beautiful truth of itself in the emptiness of trying to sleep at 4 a.m. on a tear-soaked pillow, alone.
Check out Anjani’s website; http://www.anjani-music.com
Banzai !
March 14, 2008
Posted by stupidand |
Anjani Thomas, Leonard Cohen, Music_ClassicalModern, Music_Jazz, _MUSIC |
Leave a Comment
John Cage – 44 Harmonies, from ‘Apartment house 1776′ / Cheap imitation (2005)
Contemporary | FLAC & EAC (APE + CUE) | no cover | 2CD | 494 MB
Performed by the Arditti Quartet / Irvine Arditti.
Here’s Johnny! Doing his strange wonderful thing with one or two strings! Butting his head against the wall!
John Cage – 44 Harmonies, from ‘Apartment house 1776′ (for 4 voices)CD1: 1-25CD2: 1-19 Forty-four Harmonies (1:42:52)
Arranged for string quartet by Irvine Arditti.
Performed by the Arditti Quartet (Irvine Arditti & Graeme Jennings, violins; Dov Scheindlin, viola; Rohan de Saram, cello).
John Cage – Cheap imitation (for solo violin)
CD2: 20-22 Cheap imitation, in three parts (31:52)
Performed by Irvine Arditti, violin.
Released by Mode in 2005 as Mode 144/145 (The Complete John Cage Edition – Volume 33, The Works for Violin 6, The String Quartets 4).
Editorial review ‘All music guide’:
| “ |
For most of his career, American composer John Cage did not much care for the thirds and sixths that form the building blocks of the majority of Western music. Yet Cage stood for the very idea that all sounds were acceptable in music — what did he have against good, old-fashioned traditional harmony?
Arnold Schoenberg once warned Cage that if he didn’t get a grip on harmony, he would always be “butting his head against the wall,” a condition that, in 1934, Cage was happy to accept. However, by 1969 either the wall, or his head, was getting too a bit hard, as Cage realized he was going to a lot of trouble creating works that were enormously complex, impractical and had little lasting value. With “Cheap Imitation” (1969) for solo violin, Cage made a breakthrough, merely through “decomposing” parts of a work he’d long loved – Erik Satie’s cantata “Socrate.” Irvine Arditti and the Arditti Quartet’s two-disc set Cage: 44 Harmonies from Apartment House 1776; Cheap Imitation on Mode Records is an expertly played examination of this significant transitional period in Cage’s development.
“Apartment House 1776″ was a large “circus” created for the American Bicentennial, being Cage’s vision of a 1776 apartment house with different rooms representing the various residents inside. The “44 Harmonies” occupied just one of these rooms, but as with the parts in Cage’s “Concert for piano and orchestra” (1958), any single element in “Apartment House 1776″ can be singled out independently.
Irvine Arditti has arranged the “44 Harmonies for string quartet,” and in this medium it works extremely well. In music consisting of partly “decomposed” eighteenth century American hymn tunes, the quartet sounds like one large violin that is missing a string or two. The harmonies are pleasant, naked, and devoid of a conventional context; silences are frequent.
This music is more potholes than road, and its lack of forward progression will prove maddening to some. Nevertheless, others will appreciate the work’s ethereal emptiness, and it makes for a lovely background element to studying or reading. Lasting a whopping 103:26, “44 Harmonies from Apartment House 1776″ takes up the whole first disc and most of the second, but the second disc is filled out with a fine solo performance of “Cheap Imitation” by Irvine Arditti in all its haunting, ghostly whiteness.
- Uncle Dave Lewis, All music guide
|
” |
Packed as a contiguous zip inside a multi-part 7z, limited at 100M, served by RS, redirected through
http://www.tinyurl.com/parts
parts: 2hp6xp, 38kwpj, 2gtx4o, yoxhu3, 3b27mu
Original FLAC’s in two zips, served by MU (+/- 250M each) at 27n98q and 37sf8e.
Credits:
Post by interzone and original flacs provided by Mark!
Big Thanks!
Thanks to the original poster
February 12, 2008
Posted by stupidand |
John Cage, Music_ClassicalModern, _MUSIC |
Leave a Comment
John Cage – 44 Harmonies, from ‘Apartment house 1776′ / Cheap imitation (2005)
Contemporary | FLAC & EAC (APE + CUE) | no cover | 2CD | 494 MB
Performed by the Arditti Quartet / Irvine Arditti.
Here’s Johnny! Doing his strange wonderful thing with one or two strings! Butting his head against the wall!
John Cage – 44 Harmonies, from ‘Apartment house 1776′ (for 4 voices)CD1: 1-25CD2: 1-19 Forty-four Harmonies (1:42:52)
Arranged for string quartet by Irvine Arditti.
Performed by the Arditti Quartet (Irvine Arditti & Graeme Jennings, violins; Dov Scheindlin, viola; Rohan de Saram, cello).
John Cage – Cheap imitation (for solo violin)
CD2: 20-22 Cheap imitation, in three parts (31:52)
Performed by Irvine Arditti, violin.
Released by Mode in 2005 as Mode 144/145 (The Complete John Cage Edition – Volume 33, The Works for Violin 6, The String Quartets 4).
Editorial review ‘All music guide’:
| “ |
For most of his career, American composer John Cage did not much care for the thirds and sixths that form the building blocks of the majority of Western music. Yet Cage stood for the very idea that all sounds were acceptable in music — what did he have against good, old-fashioned traditional harmony?
Arnold Schoenberg once warned Cage that if he didn’t get a grip on harmony, he would always be “butting his head against the wall,” a condition that, in 1934, Cage was happy to accept. However, by 1969 either the wall, or his head, was getting too a bit hard, as Cage realized he was going to a lot of trouble creating works that were enormously complex, impractical and had little lasting value. With “Cheap Imitation” (1969) for solo violin, Cage made a breakthrough, merely through “decomposing” parts of a work he’d long loved – Erik Satie’s cantata “Socrate.” Irvine Arditti and the Arditti Quartet’s two-disc set Cage: 44 Harmonies from Apartment House 1776; Cheap Imitation on Mode Records is an expertly played examination of this significant transitional period in Cage’s development.
“Apartment House 1776″ was a large “circus” created for the American Bicentennial, being Cage’s vision of a 1776 apartment house with different rooms representing the various residents inside. The “44 Harmonies” occupied just one of these rooms, but as with the parts in Cage’s “Concert for piano and orchestra” (1958), any single element in “Apartment House 1776″ can be singled out independently.
Irvine Arditti has arranged the “44 Harmonies for string quartet,” and in this medium it works extremely well. In music consisting of partly “decomposed” eighteenth century American hymn tunes, the quartet sounds like one large violin that is missing a string or two. The harmonies are pleasant, naked, and devoid of a conventional context; silences are frequent.
This music is more potholes than road, and its lack of forward progression will prove maddening to some. Nevertheless, others will appreciate the work’s ethereal emptiness, and it makes for a lovely background element to studying or reading. Lasting a whopping 103:26, “44 Harmonies from Apartment House 1776″ takes up the whole first disc and most of the second, but the second disc is filled out with a fine solo performance of “Cheap Imitation” by Irvine Arditti in all its haunting, ghostly whiteness.
- Uncle Dave Lewis, All music guide
|
” |
Packed as a contiguous zip inside a multi-part 7z, limited at 100M, served by RS, redirected through
http://www.tinyurl.com/parts
parts: 2hp6xp, 38kwpj, 2gtx4o, yoxhu3, 3b27mu
Original FLAC’s in two zips, served by MU (+/- 250M each) at 27n98q and 37sf8e.
Credits:
Post by interzone and original flacs provided by Mark!
Big Thanks!
Thanks to the original poster
February 12, 2008
Posted by stupidand |
John Cage, Music_ClassicalModern, _MUSIC |
Leave a Comment
