Charles Edward Ives (October 20, 1874 – May 19, 1954) was an American modernist composer. He is one of the first American composers of international renown, though his music was largely ignored during his life, and many of his works went unperformed for many years. Over time, he came to be regarded as an "American original". Ives combined the American popular and church-music traditions of his youth with European art music, and was among the first composers to engage in a systematic program of experimental music, with musical techniques including polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones, foreshadowing many musical innovations of the 20th century…
Extended version of 2015's critically acclaimed "Music Complete" by New Order. This two disc set features the first CD release of the extended versions as included within the limited edition vinyl box set (including two versions exclusive to this package).
Lock the doors, close the curtains and turn the lights down before putting this disc on. Here is music for an intimate space: solo music for solitary souls. This is a rare opportunity to hear solo lyra viol music from the early 1630s played on a beautiful period instrument by one of today’s foremost exponents of the Jacobean repertoire. Richard Boothby has been playing English consort music (some of it by Lawes) with Fretwork for over 30 years, so is as well placed as anyone today to interpret this body of solo music, most of it recorded here for the first time.
Florentine composer Castelnuovo‐Tedesco contributed a vast array of music to the guitar literature, and this engaging release celebrates his output for two guitars, drawing focus to what is perhaps the repertoire’s most awe‐inspiring collection: the cycle of 24 preludes and fugues known as Les guitares bien tempérées. The unique nature of this work lies in the composer’s great ability to use ‘raw’ materials, polishing them with an almost unparalleled skill to create small, perfect and autonomous scenes that draw on light and extremely effective use of counterpoint; appending them is the Fuga elegiaca, a work that functions as the perfect conclusion on account of its original key of G minor, the same key in which the series opens.
The music of Alfredo Casella is experiencing a true revival: labels like Chandos and Naxos issue his large scale orchestral works to great critical and public acclaim, and this new recording presents his wonderful works for cello and piano. Casella’s musical language is often called “Neoclassical”: clear structures, open and strong melodic lines, vibrant and sharply edged rhythms, music of great vitality and power.
Listeners seeking a single box of all Haydn's solo keyboard music performed on a fortepiano and recorded in digital sound need look no further. Pianist Ronald Brautigam's 15-disc set for BIS contains everything the great Austrian classical composer wrote for the instrument: the 63 piano sonatas and the 25 miscellaneous works, plus The Seven Last Words of our Savior on the Cross in a keyboard arrangement authorized by the composer.
No more than a handful of pieces represent the entire musical heritage for baroque lute by Johann Sebastian Bach – not a lot when we consider the enormity of the composer’s total output. Although it is not known whether Bach himself played the instrument, the seven works which are ascribable to it continue to enjoy extraordinary attention on the part of musicians due to their exceptional quality, and indeed the majority originate from the areas of Germany that were home to the lute’s greatest exponents – musicians who we can be almost certain the composer came into contact with. This recording thus presents four compositions in suite form and three pieces of a different nature, all belonging to the florid repertoire of the courtly Salonmusik that was in vogue among the German upper classes at the time. Performing them is acclaimed Italian lutenist Mario D’Agosto, whose changes in tonality aim to better serve the capacities of the instrument and whose embellishments are testament to the high level of ornamentation which played such an intrinsic role in baroque performance practice.
For the first time complete on CD: Charles Koechlin’s Music for Saxophone. Koechlin was an important composer and music theorist at the beginning of 20th century, living in Paris, the world’s hot spot for musical innovation. His music is inspired by the impressionistic style, which was much in vogue at that time, but it voices his unique personal language, in which oriental elements are fused. He was enchanted by the then new instrument of Adolphe Sax, the saxophone, and wrote extensively for this sonorous and seductive instrument.
German guitarist Franz Halász displays a fine sense of tone and pacing in this revealing overview of Takemitsu's solo guitar music. Takemitsu wrote for the concert stage in an original avant-garde idiom, created over 100 film soundtracks, and produced arrangements of Japanese folk tunes and Western popular music. This range, except for the soundtracks, is represented here. The title tracks are from the concert work All in Twilight – Four pieces for guitar (1987), inspired by Paul Klee's painting of the same name. Here Halász's beautiful touch is shown in contrasting and subtle timbres on the composer's rich, jazz-like harmonies, sometimes brooding, sometimes in quickly flowing passages like those of the third movement. Next, the first six of "12 Songs" introduces some technically challenging, but aesthetically straightforward arrangements – Sammy Fain's classic Secret Love, four tunes by John Lennon and Paul McCartney, and George Gershwin's Summertime in which Takemitsu spectacularly manages to reduce the best orchestral parts to the limits of the guitar and to improvise in a free-flowing manner.