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MORTON FELDMAN (1926-1987)
1-1. Flute And Orchestra (1977/78) 32:35
1-2. Cello And Orchestra (1972) 18:52
2-1. Oboe And Orchestra (1976) 21:20
2-2. Piano And Orchestra (1975) 26:47
Credits :
Conductor – Hans Zender
Flute – Roswitha Staege (tracks: 1-1)
Oboe – Armin Aussem (tracks: 2-1)
Orchestra – Rundfunk-Sinfonieorchester Saarbrücken
Piano – Roger Woodward (tracks: 2-2)
Violoncello – Siegfried Palm (tracks: 1-2).jpg)
Performed by the Ensemble Avantgarde, and the Deutsches Symphonie-Orchester Berlin conducted by Michael Morgan, this is a very sensitive and fine performance of the new music classic "Durations I-V." In these five innovative pieces, the composer gave over control of the duration parameter entirely to the performers (there are only notes without stems, therefore no divided rhythm) -- the pulse (ictus) is slow, all is quiet, the tones have a minimum of attack. Thus, each performance is unique, and creates its own timbre combinations and exquisite beauty of a transparent sound texture. By contrast, "Coptic Light" for orchestra is of an extremely dense, polyrhythmic texture that shifts slowly by rhythmic staggering (phase shifting) within orchestral groups, creating the unique effect of a shimmering of sound analogous to the shimmering of light on water. The specific visual analog in Feldman's mind was the fine interweaving of ancient Coptic textiles he had seen in a museum. He was also attempting to create the effect of a piano's sustaining pedal for the orchestra, which allows tones to continue resonating and to blend together and overlap. "Blue" Gene Tyranny
MORTON FELDMAN (1926-1987)
Durations I-V
1. Durations I For Alto Flute, Piano, Violin, Violoncello 10:29
2. Durations II For Violoncello And Piano 4:10
3-6. Durations III For Violin, Tuba And Piano (10:47)
7. Durations IV For Violin, Violoncello And Vibraphon 3:29
8. Durations V, For Violin, Violoncello, Horn, Vibraphon, Harp And Piano/Celesta 8:58
9. Coptic Light For Orchestra 23:51
Credits :
Ensemble – Ensemble Avantgarde (tracks: 1 to 8)
Orchestra – Deutsches Symphonie-Orchester Berlin (tracks: 9)
Conductor – Michael Morgan (tracks: 9)
Along with other chorale fantasias and chorale preludes, vol.3 of our edition of Max Reger’s organ works presents his Twelve Pieces op.59. These works inaugurated Reger’s series of composite works intended for practical use in religious services. These are the only works by Reger based on Gregorian melodies, which, however in no way evoke modal harmonic structures but are fully integrated into his complex harmonic structures. prestomusic
MAX REGER (1873-1916)
Tracklist :
CD1: Played on the Wilhelm Sauer Organ, Dom St. Petri Bremen (1894)
CD2: Played on the Wilhelm Sauer Organ, Stadtkirche Bad Salzungen (1909)
Credits :
Organ – Gerhard Weinberger
Cover – Christiane Grimm, Design – Lothar Bruweleit
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The Reger Edition continues, following three releases accompanied by rave reviews from the critics. klassik-heute wrote in 2015, ‘In this sumptuous music Gerhard Weinberger turns enthusing technical virtuosity into an audio event. We can eagerly look forward to the other volumes of this complete recording and already certify that this edition will do an outstanding job of initially introducing the Reger beginner to his organ cosmos.’ And Musik & Theater opined in 2016, ‘These discs rank with the best currently available recordings in the field of Reger’s organ music.’ Vol. 4 again features two CDs in the best Surround Sound. The focus is formed by Reger’s op. 57, to which he added the adjective ‘Symphonic’, thereby making it absolutely clear that this work would represent a high point not only in his own organ oeuvre but also in the whole of the organ literature. In his op. 145 collection published in early 1916 – first designated as the ‘Seven Organ Pieces’ in posthumous editions – all the pieces have in common the quotation of chorales corresponding in content to the particular work title. The Introduction and (above all) the Passacaglia in F minor are surely the most outstanding numbers among the twelve pieces constituting his Monologues op. 63. prestomusic
MAX REGER (1873-1916)
Tracklist 1 :
1-2. Symphonische Phantasie Und Fuge D-moll Op. 57 (20:35)
3-9. Sieben Orgelstücke Op. 145 (Sieben Fantasien Zu Den Hauptfesten Des Kirchenjahres) (51:42)
Tracklist 2 :
1-3. Aus Monologe Op. 63: Introduktion Und Passacaglia Nr. 5, 6; Ave Maria Nr. 7 (19:04)
4-9. Sechs Trios Op. 47 (18:08)
10-16. Suite Op. 92 (30:18)
Credits :
Organ – Gerhard Weinberger
Cover – Christiane Grimm, Design – Lothar Bruweleit
Dmitri Kabalevsky (1904-1987)
CD1
1-3 Piano Concerto No. 1 in A minor, Op. 9
4-6 Piano Concerto No. 2 in G minor, Op. 23 (original version)
CD2
1 Piano Concerto No. 3 in D major, Op. 50
4 Fantasy in F minor after Schubert D 940
7 Rhapsody, Op.75
8 Piano Concerto No. 4 in C major for piano & strings, Op. 99
Piano - Michael Korstick
Orchestra - NDR Radiophilharmonie
Conductor - Alun Francis
To
the extent that Dmitry Kabalevsky has been viewed as the Soviet
composer par excellence, his reputation has suffered in the west,
especially since the end of the Cold War. Certainly, some of his less
politically rewarded contemporaries have risen to greater prominence in
the same period, and this demonstrates a shift in public opinion, from
favoring the tuneful and conservative music of Kabalevsky to exploring
the deeper, agonized expressions of such artists as Dmitry Shostakovich
and Mieczyslaw Weinberg. Particularly in the realm of the symphony,
Kabalevsky's four symphonies are far less significant than
Shostakovich's fifteen or Weinberg's twenty five, which reflect in their
troubled music much of what was wrong in the Soviet Union, while
Kabalevsky's adhere to the party line and portray a heroic Russian
populism that rings false today. This is not to say that Kabalevsky's
symphonies are bad music, for they are constructed quite well in the
expansive, late Romantic style, and anyone who appreciates highly
melodic music in the tradition of Tchaikovsky or Rachmaninov will find
these works easy to appreciate. Indeed, the lively performances of Eiji
Oue and the NDR Radio Philharmonic convey their excitement over these
rarely recorded works, and their muscular energy makes them worth
hearing, even though they are among the shallowest of twentieth century
symphonies and of primary interest to students of Russian history. CPO's
sound quality is excellent, so the performances come across with
natural orchestral colors and resonance. by Blair Sanderson
Dmitry Kabalevsky (1904-1987)
CD1
1-2 Symphony No. 1 Op. 18 In C Sharp Minor (19:35)
3-5 Symphony No. 2 Op. 19 In C Minor (1934) (25:37)
CD2
1-2 Symphony No. 3 Op. 32 In B Flat Minor For Orchestra And Mixed Chorus »Requiem Für Lenin« (1933) (19:07)
3-7 Symphony No. 4 Op. 54 In C (1955-56) (41:12)
Chorus – The Choir Of Hungarian Radio (2-1 to 2-2), NDR Chor
Orchestra – NDR Radiophilharmonie
Conductor – Eiji Oue 
September, the fifth album by Norwegian singer Rebekka Bakken, picks up where its Americana-influenced predecessor Morning Hours left off: c...
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