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Clarinet, page 6

   Found CDs: 62
 

Sven van de Voorde - Messiaen - Quatuor Pour La Fin Du Temps

Sven van de Voorde - Messiaen - Quatuor Pour La Fin Du Temps
ID: ACDBR071-2
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Clarinet

Debut album by Sven Van De Voorde and ensemble TetraGonist expected Soon!
Presentation Concert March 16 Conservatory Ghent.
January 15th 1941: The premiere of Messiaen’s most performed work ‘Quatuor pour la fin du Temps’ in the theatre shed of Stelag
VIIa, a German work camp near the Polish border.

This work, which consists of 8 parts, centralizes the Apocalypse as it is portrayed in the Gospel of John. The musical language is essentially ‘immatériel, spirituel et catholique’. Messiaen dubbed himself a ‘compositeur- rythmicien’ and, alongside his preoccupation with harmonic development reflected in his wayward use of several modes, he was mainly concerned about the auditor’s listening experience. This concern was expressed , on the one hand, through added values and rhythmical palindromes, and on the other, through his often extremely low paces, always aiming to express the Christian mystical experience that results in eternity.

The ‘Quator pour la fin du Timps’ by O. Messiaen with its unique formation, is the central work around which the young TetraGonist Ensemble has taken shape…Which music, however, could function alongside this masterpiece
and maybe even shed a new light on it?
18.00 eur Buy

Pierluigi Billone - 1+1=1. Heinz-Peter Linshalm, Petra Stump, bass clarinet

Pierluigi Billone - 1+1=1. Heinz-Peter Linshalm, Petra Stump, bass clarinet
ID: KAI0012602
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Clarinet

World Premiere Recording

The title of the work 1+1=1 is a quotation from Andrey Tarkowsky’s film “Nostalgia” which points to the special relation between the two instruments.

We have been planing this unique project for a long time: a composition for two bass clarinets as a full evening program. Through intense research Pierluigi Billone has acquired much experience in handling the bass clarinet and is the ideal composer for this task. Billone has an open mind and original thoughts about such a project. His formal conception can open new spaces for the listeners and take them on a exciting journey into the souls of the bass clarinets. The title of the work 1+1=1 is a quotation from an Andrey Tarkovskij film which points to the special relation between the two instruments.

Includes booklet with text by Carolin Naujocks and Pierluigi Billone
21.00 eur Buy

Gérard Grisey: Solo Pour Deux / Ernesto Molinari

Gérard Grisey: Solo Pour Deux / Ernesto Molinari
ID: KAI0012502
CDs: 1
Type: CD
Subcollection: Clarinet

I - that sacred time:
Cut to pieces by the media, drowned in over-information, measured in this age of zapping and clips, this time, the time which Bataille called ‘sacred’, the time of Art, Love and Creativeness, the instant when something unprecedented happens, can only be preserved by the artist if he completely resists this late 20th century environment. Paradoxically, however, these are precisely the rhythms which feed and inspire him. This is the only world which calls forth his questions. And so, the response to this discontinued flood of information will be a music finding its unity and continuity. Its wintry slowness will be the reversed echo of a stress-ridden world rushing towards its end.
II - Zwitschermaschine:
Think of whales, men and birds. When you hear the songs of the whales, they are so spaced out that what sounds like a gigantic, drawn-out and endless moan is perhaps only one consonant to them. This means that it is impossible to perceive their speech with our constant of time. Similarly, when we hear a bird sing, our impression is that it sounds very high-pitched and agitated. for its constant of time is much shorter than ours. It is difficult for us to perceive its subtle variations of timbre, while it may perceive us, perhaps, as we perceive the whales. (Gérard Grisey)

Includes booklet with text by Gérard Grisey and Wolfgang Hofer
21.00 eur Temporarily out of stock

Birtwistle - Orpheus Elegies - Three Bach Arias

Birtwistle - Orpheus Elegies - Three Bach Arias
ID: CC2020
CDs: 1
Type: CD
Subcollection: Voices

Sir Harrison Birtwistle’s compositional life from the mid 1970s to the 1980s was dominated by his opera The Mask of Orpheus, and the same period saw the origin of the Elegies, written for Melinda Maxwell and Helen Tunstall while they were working with the composer at the National Theatre.
‘They are like enchanted preludes…Enchantingly performed here’ The Sunday Times


The 24-page full colour CD booklet has a 6,000 word programme note in English including details of the Orpheus myth and Rilke's Sonnets to Orpheus, an interview with Sir Harrison Birtwistle, and a detailed track-by-track
guide, including translations. There are biographies of all the players and many photographs.


Introduction by Melinda Maxwell:

The myth of Orpheus and his music has occupied Sir Harrison Birtwistle (universally known as Harry) for most of his life, and the 26 Orpheus Elegies for oboe, harp and counter-tenor are a further comment in miniature on that myth. They are a re-telling of the story, and the mystery and power that surrounds an imagined music of Orpheus; music that represents a combination of the ethereal - Apollo - and the earthly - Dionysius; music that seduced creation itself with its power of expression.

The Sonnets to Orpheus by Rainer Maria Rilke, known to Harry for a long time, gradually became part of the composition process, and as the music was being written certain words and phrases from those sonnets seemed to clarify and strengthen the meaning of the music.

In time, Harry found that for some of the Elegies, a phrase was not enough. In Elegies 11, 13 and 14 the sonnets are set for voice in their entirety. The voice part is for counter -tenor and written for Andrew Watts. In Elegies 17, 20 and 26 portions of a sonnet are sung. For the remaining twenty Elegies, a phrase taken from a sonnet is written at the end of the instrumental music. For example, Elegy 12 (CD track 16) is fast, manic, rhythmic and repetitive, and the written words are the penultimate line of Sonnet number 5 from Rilke's first set: "the lyre's bars do not constrain his hands". As an aside these words add further meaning to the music, and the music evokes the atmosphere of the words.

Early on in the compositional process, Harry asked me about unusual sounds on the oboe, sounds encompassing harmonics and multiphonics (combinations of sounds that speak together forming chords that have unusual pitch formations and are mostly non-diatonic). I played some to him and wrote down those he liked. He particularly liked pitches that transformed and hung into multiphonics In Elegy 7 these sounds are used almost exclusively, to produce a music that is eerie and other-worldly, finishing with Rilke's words "[He emerged like] ore from the stone's silence". In the very first Elegy based around the note E, Birtwistle uses a double harmonic of an open fifth on E to splice, enrich and delve inside the sound, reaching further depths of expression. Rilke's words for this stark opening are "A tree has risen. Oh pure transcendence!".

Three of the Elegies use metronomes, and these give out a mechanical, inevitable, sense to the music. Elegy 25 uses two metronome pulses at slightly different speeds; Rilke's words are "Does time, the wrecker, really exist?".

The idea for the piece began in the late 1970s when Harry and I and the harpist Helen Tunstall were working at the National Theatre in London, and he expressed the wish to write a piece for oboe and harp. The first draft was written for the 2003 Cheltenham Festival, although not all the Elegies were completed and it was still a work in progress. Certain revisions and further additions ensued, and a longer version appeared in the 2004 Cheltenham Festival. Betty Freeman paid for the commission and Heinz and Ursula Holliger gave the world premičre with Andrew Watts at the Lucerne Festival in September 2004. The London premičre was given by myself, Helen and Andrew in October 2004 at the South Bank.

Throughout many rehearsals and subsequent performances in the UK and at the Holland (2006) and Bregenz (2007) Festivals, Harry offered further insights into our interpretations of phrase, nuance, pace and dynamics, and this recording is the culmination of this entire process. It is a piece full of contrasting voices, from music that is by turns warm, tender, almost wistful, and also bold, relentless, sometimes violent. Each Elegy speaks with its own voice, and such is the power of the composer's invention one feels that many more could follow.
21.00 eur Buy

RAMON LAZKANO - Hauskor

RAMON LAZKANO - Hauskor
ID: KAI0012992
CDs: 1
Type: CD
Subcollection: Orchestra

Hauskor
In Basque the word Hauskor refers to that which potentially has the quality of breaking itself up into dust thanks to the inner dynamism of the material after which it is named. Thus comes the initial idea of the piece: eight cellists who, because of their new position in space, dim and blur the orchestral convention, trickling what seemed to be a homogeneous group into separate voices which end up confronting the wholeness from which they spring. It is the threshold of a conflict, and over this threshold leans and balances itself what could be alluded to as the production of sounds.

Ortzi Isilak
Ramon Lazkano took two quotations from Nietzsche as the thought and the expression of the sound environment from which the musical idea slowly emerges. These two references may be read philosophically and artistically but can also plainly allude to a certain figurative affinity with the contents of the work.

Ilunkor
The five linked up sections of Ilunkor seek after the mineral and earthly ideas which were at the onset of their being designed. Carving sounds, creating volumes and crests out of silence, saturating harmony and carrying dynamics and ranges to extremes, conceiving shape as a maze of breakings and windows and time as an expanded dimension…


Includes booklet with text by Martin Kaltenecker
21.00 eur Buy

Katharine Norman - London

Katharine Norman - London
ID: NMCD034
CDs: 1
Type: CD
Collection: Chamber Music
Subcollection: Clarinet

Matthews's The Great Journey, a forceful and panoramic narrative of a 16th-century Spanish expedition to America, is complemented by the scherzo Fuga and Night's Mask, a darkly atmospheric setting of Fernando Pessoa's brooding sonnet.
22.00 eur Buy

Ed Bennett: My Broken Machines - Decibel

Ed Bennett: My Broken Machines - Decibel
ID: NMCD169
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Clarinet

Ed Bennett’s music, which has been described in the press as ‘anarchic’ (Irish Times), ‘manic’ (Classical Music), ‘brutal’ (Guardian) and ‘beautiful’ (Gramophone) is often characterized by its strong rhythmic energy, extreme contrasts and the combination of acoustic, electronic and multimedia elements. In common with a number of composers of his generation, Bennett developed an interest in classical music relatively late - his earlier musical experiences were in bands and improvisation groups and these interests are still evident in his music.
Highlights include Ghosts, for amplified viola d’amore, that explores the acoustic peculiarity of the baroque instrument: beneath its seven strings the instrument has seven sympathetic strings creating a ghost-like resonant sound around the bowed notes. Stop-Motion Music applies to music a ‘stop-start’ technique Bennett admires in the work of surrealist Czech animator Jan Svankmajer and a childhood memory of an old fairground filled with ‘laughing policemen, mechanical fortune tellers, tests of strength, ghost trains and an array of other eccentric machines’ is the inspiration for My Broken Machines.
22.00 eur Buy

Robert Simpson: Symphony No. 3 - Clarinet Quintet

Robert Simpson: Symphony No. 3 - Clarinet Quintet
ID: NMCD109
CDs: 1
Type: CD
Subcollection: Clarinet

A powerful and original symphonist, Robert Simpson (1921-1997) gave new life to the form at a time when the avant garde was enthusiastically declaring its death. His Symphony No 3 is dedicated to his friend and fellow composer Havergal Brian. It is a work of dramatic contrasts and irrepressible energy; Robert Simpson described the second of its two movements as “a huge composed accelerando”. The London Symphony Orchestra is heard here under legendary Russian conductor Jascha Horenstein.
22.00 eur Buy

Saturn - Edwin Roxburgh

Saturn - Edwin Roxburgh
ID: NMCD119
CDs: 1
Type: CD
Subcollection: Clarinet

Roxburgh's Clarinet Concerto features soloist Linda Merrick in a work of symphonic scope and expressivity; she is acompanied by the Royal Northern College of Music Symphony Orchestra conducted by the composer.

In Saturn - a tribute to Holst, Roxburgh's predecessor at the Royal College of Music - Roxburgh explores the mythical characters of its moons and satellites in a series of orchestral showpieces which culminates in the wild abandon, and percussive onslaught, of Saturn itself; Hertfordshire County Youth Orchestra is conducted by Peter Stark.
22.00 eur Buy

Andrew Sparling - New works for clarinet

Andrew Sparling - New works for clarinet
ID: NMCD092
CDs: 1
Type: CD
Collection: Instrumental
Subcollection: Clarinet

Judith Weir's own choice of her chamber music featuring piano explore Weir's fascination with folk music: the sparkling Piano Concerto explores her Scottish roots.
Disc 1 was recorded for NMC in 2002; Disc 2 was originally released on Collins Classics.
Reissued with funding from Arts Council England.
22.00 eur Buy

 
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