In The 30 Greatest Orchestral Works, Great Courses favorite Professor Robert Greenberg of San Francisco Performances takes you on a sumptuous grand tour of the symphonic pieces he counts, as a highly respected composer and music historian, as being among the very greatest ever written—inviting you to an in-depth contemplation of what makes these works so memorable, and why they live at the center of our musical culture. These 30 masterworks form an essential foundation for any music collection and a focal point for understanding the orchestral medium and deepening your insight into the communicative power of music. While seasoned music lovers will find the lectures a fascinating and revealing journey through the repertoire, the course welcomes newcomers to orchestral music, offering a very accessible point of entry to this magnificent repertoire.
On the four previous installments in Timpani's series of the orchestral works of Iannis Xenakis, Arturo Tamayo and the Orchestre Philharmonique du Luxembourg have presented highly varied and volatile works from different periods of the composer's career and have provided an excellent overview of his output. This fifth volume focuses on the early orchestral works, which brought architect and mathematician Xenakis world renown as a cutting-edge composer and put him in direct opposition to the serial establishment.
The fourth volume of Timpani's series of orchestral works by Iannis Xenakis presents four works from three distinct periods, though not in chronological order. Erikhthon for piano and orchestra (1974) is one of the "arborescent" or branch-like compositions from Xenakis' middle phase. Expanding and contracting through criss-crossing glissandi and bending clusters, the extremely loud and aggressive orchestra overwhelms the impossibly dense and struggling piano part; in this role reversal, Erikhthon may be regarded as the absolute antithesis of the conventional piano concerto. Ata (1987) is a late work, contrapuntal in nature but with the difference that the polyphonic lines are all tightly bunched in clusters; it also features a sly reference to Stravinsky's Le Sacre du printemps, which is unexpected and hilarious.
These four compositions are among the best and most forceful works of Xenakis. This recording of Jonchaies easily beats the version on Col Legno. I believe Shaar, Lichens, and Antikhthon are recorded here for the first time, and they are outstanding works, brilliantly performed and recorded. For those unfamiliar with the later large works of Xenakis, the CD is a must have!
Arturo Tamayo's recordings of the works of Iannis Xenakis on the Timpani label are among the finest available, for they are finely interpreted, expertly performed, and brilliantly recorded. Xenakis' music is always different from piece to piece, because the composer never wanted to repeat himself, and his works always present unique challenges, depending on the nature of his evolving techniques and changing expressions. Whether it is in the stark text and extreme vocalizations of Aïs (1980), or the densely dissonant aggregations of Tracées (1987), Empreintes (1975), Noomena (1974), and Roáï (1991), Tamayo keeps the energy levels high and shapes the sound to have a sharp edge and forceful impact.
Naturally, Brilliant Classics could not afford to get the best baroque performers - this is a super budget set - but one thing that the listener discovers in this set is that there are many fine, even excellent "second tier" performers of Bach's music. Many of the instrumental ensembles whose recordings are in this set are excellent. The Consort of London, for example, is a pleasant surprise. They perform the Brandenburg Concertos and the Orchestral Suites…
This double CD from EMI features the Bournemouth Symphony Orchestra conducted by their Finnish principal conductor at the time (1970s), Paavo Berglund. It doesn't have to be that a conductor originates from the same country as the composer whose works he or she is conducting, but it often happens that this combination seems to produce performances of greatest sensitivity. So it is here, as Berglund conducts 10 works by Finnish composer Jean Sibelius. The discs include quite familiar works like En Saga, one of Sibelius' first compositions when he was in his late 20s. We also have Pohjola's Daughter, The Bard and two of the four Lemminkäinen Legends, and a beautiful version of Luonnotar sung by the Finnish soprano Taru Valjakka. The rest of the discs is made up of less frequently heard pieces. We have the five-movement suite from the incidental music Sibelius wrote for Adolf Paul's play King Christian II (1898); the Spring Song (Vårsång) of 1894; the suite of incidental music from Maeterlinck's Pelleas and Melisande.
Das Orchester der Beethovenhalle Bonn, seit 1995 unter der Leitung von Marc Soustrot, wurde 1897 in Koblenz als Philharmonisches Orchester gegründet und zehn Jahre später von der Stadt Bonn übernommen. Erst 1957, mit Errichtung der Beethovenhalle, erhielt es seinen jetzigen Namen. Von großen Dirigenten geleitet hat sich das Orchester in der deutschen und internationalen Musikszene etabliert. Soustrot gehört zu den wenigen französischen Dirigenten, die sich nicht auf Konzert oder Oper spezialisiert haben und daher über vielseitige Erfahrungen in beiden Bereichen verfügen…
This collection of Krysztof Penderecki's music encompasses one of New Music's most intense, even extreme pieces: Threnody for the Victims of Hiroshima. Played in the extreme registers by 52 string performers, this piece came off in every way as a careening lamentation. Decrying the bombing of Hiroshima at a time when it was still a historical blue ribbon on the war chest of the U.S., Threnody was unforgettable for its vast ranges of sound colors, from the quietest and most brittle to the most raging, swirling bruises imaginable.–Andrew Bartlett