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).
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.
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.
A new album from the Gramophone Award-winning team of Steven Osborne, the BBC Scottish Symphony Orchestra and Ilan Volkov. Here they present Stravinsky’s complete music for piano and orchestra as a rare complete set, plus the Concerto in D for string orchestra. The taut rhythmic brilliance of this music is perfectly suited to the particular artistry of these performers. Volkov’s mastery of Stravinsky’s neo-classical idiom is clear from the ecstatic critical response to his recordings of many of the composer’s orchestral works.
Weissenberg's Chopin is not for the faint hearted, but it does have its fans. No less a pianist than Glenn Gould commented parenthetically in an article in the May 1976 issue of High Fidelity that: “I always felt that I could live without the Chopin concertos and managed to until Alexis Weissenberg dusted the cobwebs from Mme. Sand’s salon and made those works a contemporary experience.” Gould brands Weissenberg's Chopin as a “unique example of the rite of re-creation”, alongside Barbara Streisand's Classical Barbara album. Take from that what you will. In any case, those jaded listeners who cannot bear talk of the warmth of Chopin's limpid beauty will probably enjoy Weissenberg's bracing bucket of ice immensely.
– Tim Perry, MusicWeb International