The Prepared Piano

1. Seine

2. Traffic

3. Fernpunkt

4. Where Were You

5. Gingko Tree

6. Firn

7. Twins

8. Two Stones

9. Kein Wort

10. Long Walk

11. Kreuzung

12. Morning

The Prepared Piano,Volker Bertelmann,Karaoke Kalk,Avant-Garde,Dance Music,Electronic,Electronic/Avant-Garde/Minimalist Music,Pop

Average customer rating: The Versatile Yo-Yo Ma Not for the average listener A thoroughly enjoyable trip through Central Asia and a few other places. Silk Road Journey A Detailed Review From A Non-expert Music Lover

Silk Road Journeys: When Strangers Meet Yo-Yo Ma , and Silk Road Ensemble Manufacturer: Sony ProductGroup: Music Binding: Audio CD Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Soundtracks | Styles | Music Classical | Indie Music | Stores | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Silk Road Journeys: Beyond the Horizon The Silk Road: A Musical Caravan Obrigado Brazil Soul of the Tango: The Music of Astor Piazzolla Yo-Yo Ma Plays Ennio Morricone ASIN: B0000641CG Release Date: 2002-04-16

Tracks:

1. Mongolian Traditional longsong
2. Legend of Herlen (Byambasuren Sharav)
3. "Blue Little Flower" (Chinese Traditional)
4. "Mido Mountain" (Chinese Traditional)
5. Moon over Guan Mountain (Zhao Jiping)
6. "Miero vuotti uutta kuuta" from Five Finnish Folk Songs (Michio Mamiya)
7. "Joiku" from Five Finnish Folk Songs (Michio Mamiya)
8. Avaz-e Dashti (Persian Traditional)
9. Habil-Sayagy (In Habil's Style) for cello and prepared piano (Franghiz Ali-Zadeh)
10. Blue as the Turquoise Night of Neyshabur (Kayhan Kalhor)
11. Chi passa per'sta strada (Filippo Azzaiolo)
12. Desert Capriccio (Music from the film Crouching Tiger, Hidden Dragon/Tan Dun) (Bonus Track)

Amazon.com

This disc introduces Yo-Yo Ma's latest and most ambitious adventure, the Silk Road Project. It explores the cultures that flourished along the Silk Road, the ancient trade route that for centuries connected Europe and the East. Founded by Ma in 1998, the project aims to create connections, mutual trust, and cultural interchange between people from different parts of the world through their only shared language: music.

This recording includes music from Mongolia, China, Persia, Japan, Iran, Azerbaijan, and an improvisation on an Italian Renaissance street song, performed by musicians from all those countries, as well as America, on both Eastern and Western instruments. Ma, who participates in every piece either as soloist or part of the ensemble, plays cello and a Mongolian "horse-head fiddle." There is also a Mongolian soprano, who sings a traditional song native to her region. For the uninitiated Western listener, the music requires some getting used to. Much of it is based on rhythmic ostinatos. The melodies use Oriental scales; the intonation is untempered; the music seems all color, texture, and atmosphere, without what might be called themes; and repetition takes the place of development. Contrast is achieved through sudden change, buildup by adding instruments. However, the music is often beautiful, delicate, dreamy, or peaceful; every listener will find his or her own favorite pieces. The playing is splendid, with much inventive improvisation. Inevitably, Ma's tone and personality stand out, but he never dominates in fact or spirit. The booklet offers essays by Ma and the project's musicologist, Theodore Levin, photographs of the players, and drawings of the Eastern instruments. --Edith Eisler

Customer Reviews:

The Versatile Yo-Yo Ma .......2007-07-24

Since returning from a trip to China, I have become very interested in the music and the entire culture and history of the Far East. To an American, it seems like such an exotic and mysterious world. Given the formidable languages and the vastness of it all, I can only say that I can only hope to acquire a superficial understanding.

As always, the versatile Yo-Yo Ma is quite soulful and technically brilliant in his musical exploration of the "Silk Road". The music, to me, captures the feeling of Asia. The liner notes are very educational in providing a context to the project.

I find Asian music to be very different from our "Western" traditions, but given time and an even chance, I think that you will find this CD to be very nice and enjoyable.

Not for the average listener.......2007-03-20

I was going to give it 2 stars, but then again i only listened to it once.
I was looking forward to this, but the music is plodding in many parts,
like a dreary symphony. There are fine moments, but I was looking for something a bit more accesible, rhymic, and lyrical. This is a mixed bag that seems to miss more often than hit.

A thoroughly enjoyable trip through Central Asia and a few other places........2007-03-15

I have just added this to my musical library and am enjoying it. From the first beat of the first note of Khongozurl's long song you are transported to central Asia - the land of horses and gers. Of all the pieces I was most interested in listening to the second piece - Legend of Herlen. This to me, was the real silk road. The morin khuur has a very rich and unusual tone that made we want to listen to the it over and over again. Each piece is different and reminds one of the many parts that make up the whole of central asia's culture be it music or diesel trucks competing for road space with camels. The music captures the variety that makes up the region. The Finnish Folksong tracks are a nice touch. I have a friend who was at a trade conference and met a man from Mongolia. Neither could talk to one another until they discovered a common language - Finnish! My friend's family is Finnish and his new Mongolian friend had lived for several years in Finland where he learned enough of the language to communicate. Listening to the Finnish Folksongs reminds me of the Finnish-Mongolian connection that my friend had described. It is a nice touch and complements the other pieces very well. Please don't neglect to read the information insert as this gives a wealth of information on the music and it's origins as well as some of the difficulties experienced by western players playing traditional middle Asian musical instruments. Ma's difficulties with his instrument are particularly interesing to read. The concludig track - Desert Capriccio is a very nice ending to a very rich musical experince. The music from Crouching Tiger, Hidden Dragon is the perfect ending to this trip through central Asia. I highly recommend this CD to everyone.

Silk Road Journey.......2007-02-19

I saw a performance of the Silk Road Ensemble and was absolutely enthralled. So I bought the CD. But it was a big disappointment. It's not the type of music you can comfortably listen to in your living room - I'm sure it would be much more enjoyable in a concert hall. There was far too much that just sounded like "screeching" to me. However, some of the pieces that were much like what we heard at the performance were beautiful. So - a mixed review, but I disliked more than I liked.

A Detailed Review From A Non-expert Music Lover.......2007-01-12

In this review I will give my opinion on each of the 12 selections in this CD, and will also talk about some general themes related to the title "The Silk Road Project".

To anyone who has heard of the Silk Road in Ancient China, the title of this CD immediately brings up images of exotic peoples and their cultures in your mind. I think Yo-Yo Ma's efforts in creating such a culturally diversified recording are definitely welcomed in this era of globalization.

But after listening through this CD I felt that something was missing from the selections. One of the most important areas on the Silk Road is the Uyghur region in northwestern China. Their music is quite unique. Inclusion of their music in this CD would be really interesting. Also in this CD not all of the selections are chosen from those regions directly related to the Silk Road. So I guess the title is just a metaphor of "when strangers meet", but is not directly about the cultures along the Silk Road.

Now I will review each of the selections.

1. Mongolian Traditional Long Song

I am somewhat familiar with their culture and land. So to me this song is very beautiful and enchanting. One of the most important factors in conducting any cross-cultural communications is context! You really cannot take it out of context. The Mongolian Long Song might sound monotonous and drawling to a person who is more used to the Western tradition of chant, choral, or opera music. Yet if you know the traditional nomadic lifestyle of the Mongolian people on the vast rolling greens of the Mongolian grassland embellished with winding creeks and rivers, you would probably hear such long-singing voices reverberating between the green of the grass and the blue of the sky. The Mongolian people have some of the most beautiful songs that I know of.

2. Legend of Herlen

There are probably two broad categories of non-western ethnic musics. One is the authentic folksong tradition of the people, the other is westernized works composed by westernized local musicians. I guess Legend of Herlen might fall into the second category. It has some interesting tunes in it. But the overall listening experience is too dramatic. I guess the dynamics used in this piece might even go beyond the ppp and fff. In the Mongolian traditional music, dynamics are sometimes used quite dramatically, with sharp difference between two adjacent notes or phrases. So this piece here is probably not very surprising. Nonetheless I find it a little too dramatic, sometimes even disturbing. Again I am not familiar with the background of this piece, so that might explain the unusual drama.

3. Blue Little Flower

I am not sure what fusion should really sound like. But in this piece it does seem to me that a lot of musical traditions are intertwined in it: western music, Chinese folksong from Shaanxi, and probably Iranian or Indian drums. Somehow the only part of this song that I liked is the beginning line. It's very beautiful and delicate, reminding me of the theme music from the Couching Tiger, Hidden Dragon. But it is westernized, not authentic Chinese folksong. If this is still not a problem, then the drum used in this piece does cause a lot of funny effects. The drum sounds so distinctive and it represents some of the central or western Asia cultures. The images such drum beats conjure up are very incompatible with this northwestern Chinese folksong. So in this piece there are at least three threads: western, Chinese, and Iranian/Indian (I am not sure which one). But they do not converge. There is also the funny part of the singing included in this piece. It is out of place and unnecessary. The singing itself is just too frivolous to me.

4. Mido Mountain

I like this piece, especially the part played by the Sheng. Again there are some elements that sound a little bit too foreign to me, especially the percussion part. They use the same percussion/drum in this piece as in the previous one. But the overall effect of the arrangement does sound authentic and pleasant to me.

5. Moon Over Guan Mountains

If you know that Zhao Jiping is famous for his scores for films, you will probably understand this piece better. But of course understanding does not mean you will like it. This piece falls into the second category that I described above. For a lot of non-Western countries, the influence of western music is definitely immense. Many local composers are trained in both the western tradition and the local tradition. But there is probably a general feeling among composers in these countries that western music is richer in theory and methods. Many of these composers will use themes from folk songs to compose westernized music. I will give this piece a B+. It does include some themes from northwestern China, which sound really unique. As I said in this CD there is no selection from the Uyghur region in China, this piece might make up for that, since some of the themes seem to me to be from that region. But this piece is still too dramatic too, like a film score.

6. Five Finnish Folksongs No. 3

I love this one! The theme melody is so beautiful, and maybe a little bit nostalgic, and maybe a little bit romantic also? But this piece is straightly western music. There is nothing ethnic about it.

7. Five Finnish Folksongs No.5

This one is ok, but not very impressive. The overall structure of this piece sounds like very loose. There is not memorable melody either. But it does not have the maddening drama like in the two pieces I have just talked about. This is good.

8. Avaz-e Dashti
I am not familiar with Persian music. But there are indeed some very Persian melodies in this piece. The instruments used in this piece are all traditional Persian instruments. Maybe this is why it sounds so authentic to me. I like the haunting, floating tunes in this piece. They sound very ethereal to me.

9. Habil-Sayagy

Again this piece falls into the second category like the Legend of Herlen and Moon Over Guan Mountains. Such music is probably interesting to the performers, since they can let loose their inner floodgate of emotions and resort to pure artistic connections. But the problem for such music is that they are just too dramatic, and it's really hard to understand them without fairly good knowledge of the context and their unique cultural backgrounds. I am sure all these three pieces might sound profound, meaningful, and artistic once we know the cultural backgrounds better. But for the general listener, they are too abstract and too emotionally charged. Another problem for such western-traditional combination pure art form of music is that tradition might be distorted and represented in the wrong way.

10. Blue as the Turquoise Night of Neyshabur

I like this one better that the previous one, especially the middle part beginning at around 5 min 30 sec into the music. The melody is quite unique, and memorable. The bassline is very interesting too. It conjures up the image of merchants traveling on camel back through the desert. The pulse of the bass sounds like the steps of camels walking. One the instruments used, I am not sure which one, santur or kemancheh, is quite successful in bringing out the authenticity of the music style.

11. Chi passa per'sta strada

This one has the same problem as the Blue Little Flower: it does not sound like anything! It is not Italian, nor is it Iranian, nor Chinese, nor anything else. What is it? Who knows. The ethnicity of world music is tied to their unique musical instruments closely. I remember there was one year the Chinese traditional orchestra had a New Year's Concert at Vienna, and when they played the Radetzky March at the end of the concert, I was quite unimpressed.

12. Desert Capriccio

Tan Dun is similar to the composers I mentioned above like Zhao Jiping. Tan's music is unique and interesting to both western and Chinese audience, because of the same thing: they are both unfamiliar with Tan's music. To the Chinese audience, his music sounds western, but to the Western audience, his music sounds exotic. Nonetheless I still like some of this music, like the Couching Tiger and Hidden Dragon. Some of the melodies are really great. Again this piece makes up for the lack of Uyghur music in this album, since the "desert" in this piece is in the Uyghur region. But the music is not Uyghur at all.

There you have it. That's all for my detailed review of this CD. I would give it a B+ for its efforts and some of the really good tunes. As I am not an expert, I might be wrong in many of the points that I make in this review. So feel free to comment on my review.

Average customer rating: music so good you'll cry This is one for everybody should be accepted by any rational person as strong evidence for God's existence. Fill in your blank slate with some innovative music... Modern classical music that is beautiful

Tabula Rasa Dennis Russell Davies , Keith Jarrett , Gidon Kremer , Stuttgart State Orchestra , Tatiana Grindenko , Alfred Schnittke , and Twelve Cellists of the Berlin Philharmonic Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD All Works by Part | Part, Arvo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Jazz | Styles | Music ECM Classical | ECM Records | Amazon.com Label Stores | Stores | Music ECM Jazz & World | ECM Records | Amazon.com Label Stores | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Part, Arvo | ( P ) | Composers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Similar Items: Alina - Arvo Part Lamentate Arvo Pärt Sanctuary Arvo Part: Te Deum / Kaljuste, Estonian Philharmonic Chamber Choir Henryk Gorecki: Symphony 3 "Sorrowful Songs" ASIN: B0000262K7 Release Date: 1999-11-16

Tracks:

1. Fratres
2. Cantus In Memory Of Benjamin Britten
3. Fratres
4. Tabula Rasa

Amazon.com essential recording

This seminal disc now almost seems like the manifesto for a whole new strain of minimalism that has found an enormously receptive audience. It represented a breakthrough for Estonian composer Arvo Pärt, whose music--like that of his European colleagues John Tavener and Henryk Górecki--pursues an austerely beautiful simplicity that suggests spiritual illumination. Fratres, given here in two versions, one for piano and violin and the other for 12 cellos, repeatedly intones a sequence resembling chant to convey a sensibility that seems at once archaic and beyond time. Violinist Gidon Kremer, for whom Pärt wrote the exquisitely contemplative and hypnotic title work, grasps the music's koan-like idiom, allowing an inner fullness to resonate through the most fragile, ethereal wisps of tone against the mysterious clangings of prepared piano. The tolling of the tubular bells in Cantus in memory of Benjamin Britten is an emotionally charged lament, based on a simple minor descending scale, that introduces Pärt's fascination with what he calls "tintinnabulation": the literal and metaphorical sound of ringing bells. This recording is also famous for the acoustically warm presence produced by ECM's Manfred Eicher, which magnificently captures the mystical simplicity of Pärt's sound world. --Thomas May

Customer Reviews:

music so good you'll cry.......2007-04-21

I first heard one of the songs playing in a Starbucks and had to ask them what it was... I couldn't hear it very well, but I knew I needed to hear more. After I got home and listened to the previews on Amazon, I was hooked.

There is so much depth and sweetness to this music. It has literally brought me to tears. If you're looking for an album of chamber music that truely goes beyond the normal lulling sound and into the realm of true artistic expression, this is one to own. It is one of the prizes of my collection.

This is one for everybody.......2006-08-30

I'm not completely dug on classical and contemporanean music, ECM stuff included. Lygeti, Xenakis they make me sense, all along american minimalists like Reich or Cage. Electro-acustic is more ear-friendly for me (Ferrari, Parmegiani) but... All this speech just to say that thsi is one ECM record I own - the 1977's Tabula Rasa. The great Gidon Kramer (check out "Silence" from Nonesuch who has another version of tabula rasa) is here with all his magic, even the world-piano-star K. Jarrett plays piano, and everything makes sense. The music is so cold and complex, ethernal yet listenable for the common of mortals. Give a try, i did and i'm inloved with.

should be accepted by any rational person as strong evidence for God's existence........2006-06-20

arguably, it was THIS music by THIS composer that Manfred Eicher's label, ECM, was meant for. If an album was released on ECM, no doubt it sounds lovely, but when purpose is paired so perfectly with sound, even ECM attains something angelic and beyond. Arvo Part's non-modulating approach to harmony, great care and attention with so few notes, and the reverent spirit that carries through his efforts encompasses a catalogue of works so great and beautiful I'm not sure any 20th century composer can remotely compare.

This ECM disc is possibly the best of all. _Tabula Rasa_, first and foremost, is a masterpiece. A violin concerto of sorts, it flows through static haze and torrid whorls, with ghostly sounds of strings punctuated by the bell- and chime-like intonations on sounds of prepared piano. Divine and without momentum, this piece forever hovers between being and nothing. _Fratres_, performed in two versions here (for violin and piano, and for 12 cellos), features a chorale-like figure recurring over an ethereal drone. Radiant and simple, not a sound is out of place. the _Cantus_ is based on rich chords arranged in a variety of rhythmic patterns, so beautiful one kind of wishes it would last longer.

this is an excellent introduction to one of the best composers of the 20th century. i would really encourage you to hear this.

Fill in your blank slate with some innovative music..........2006-01-03

This CD started it all. In 1984 it introduced the then little known Arvo Pärt to a new western audience. Pärt had long before made his "tinntinnabulation" discovery (around 1976). Before this pivotal epiphany, the majority of Pärt's work fell into the serialist category. His early work shows all of the grinding atonal experimentation of the 1950s. It thus lies in stark contrast to his later work as presented on this CD (he shares this same evolutionary path with the Polish composer Górecki).

"Tabula Rasa" introduced a new music and a new style to the west. This music doesn't follow traditional harmonic or melodic forms. Listening to Pärt differs from listening to Sibelius or Stravinski. In Pärt, environment and setting are everything. The melodies and harmonies function to set a mood rather than to follow a path or a harmonic progression leading to an ultimate resolution. Subsequently, one experiences rather than listens to Pärt's work. The notes merely provide the structure. In this way Pärt's pieces represent frameworks for music (which probably explains, as related in the CD booklet, why the members of one orchestra asked "where is the music" upon seeing the score for "Tabula Rasa"). So Pärt not only presents beautiful and moving music but also helps listeners conceive of it in new ways.

The tracks on this CD provide the perfect showcase for Pärt's work. Beginners should start here. Two versions of the meditative "Fratres" appear, but each utilize such different arrangements that they sound like two separate works. "Cantus" remains one of Pärt's most moving compositions. It sounds like a slowly exploding wall of catharsis. The nearly half hour "Tabula Rasa" features incredible violin work and prepared piano (a la Cage). Overall, the mood of each piece on this CD veers strongly toward the meditative, mystical, and ethereal. As such it serves as a great introduction to the "late" Pärt and as a showcase of incredible musicianship.

Pärt remains more of a phenomenon on CD than in the concert hall. The lush rich sound of this CD, which will have your cochleas swimming, provides some evidence as to why. Not only that, the amount of quietude and silence utilized by Pärt must create difficulties for orchestra hall performance. Pärt's music, intimate and close, probably plays best in seclusion or in small venues. For the maximum experience, put on some headphones and listen to this CD. In this way listeners can experience all the subtle harmonics and nuances that make up the music of Arvo Pärt.

Modern classical music that is beautiful.......2005-10-23

Too many modern classical composers have sacrificed beauty for virtuosity and expermintality. Not so Part. This Baltic composer writes melodic music of outstanding lyricism and profound beauty. He has succesfully managed to write in the classical format while not sounding like a repetition of the great artists of yore. The music is melancolic, but not tragic, pensive but not unpenetratable. I had the great honour to listen to a live perfomance of works by Part by the Hilliard Ensamble at the Royal Festival Hall in London, UK. It was one of the few times I know of that the audience gave a standing ovation, and just did not want to stop. Mr Part was present and he almost started crying.
Part has contributed music to films as diverse as Les Amants du Pont-Neuf and Fahrenheit 9/11.

Average customer rating: "Come In" -- Must Listening Easy & not-easy, but all profound, moving & rewarding A minimalist delight. If You Can't Say Anything Nice, Silencio Silencio is Superb!

Silencio Arvo Part , Philip Glass , Vladimir Martynov , Gidon Kremer , Eri Klas , and Kremerata Baltica Manufacturer: Nonesuch ProductGroup: Music Binding: Audio CD Quartets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Part | Part, Arvo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Glass | Glass, Philip | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Kremer, Gidon | ( K ) | Featured Performers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Classical | Styles | Music Tango | Latin Music | Styles | Music Similar Items: Lamentate Alina - Arvo Part Arvo Pärt Sanctuary Tabula Rasa Arvo Pärt: De Profundis ASIN: B00004YR5P Release Date: 2000-10-10

Tracks:

1. Tabula Rasa: I. Ludus - Con Moto - Gidon Kremer/Tatjana Grindenko/Reinut Tepp
2. Tabula Rasa: II. Silentium - Senza Moto - Gidon Kremer/Tatjana Grindenko/Reinut Tepp
3. Company: Movt I - Kremerata Baltica
4. Company: Movt II - Kremerata Baltica
5. Company: Movt III - Kremerata Baltica
6. Company: Movt IV - Kremerata Baltica
7. Come In!: Movt I - Gidon Kremer/Tatjana Grindenko/Reinut Tepp
8. Come In!: Movt II - Gidon Kremer/Tatjana Grindenko/Reinut Tepp
9. Come In!: Movt III - Gidon Kremer/Tatjana Grindenko/Reinut Tepp
10. Come In!: Movt IV - Gidon Kremer/Tatjana Grindenko/Reinut Tepp
11. Come In!: Movt V - Gidon Kremer/Tatjana Grindenko/Reinut Tepp
12. Come In!: Movt VI - Gidon Kremer/Tatjana Grindenko/Reinut Tepp
13. Darf Ich... - Gidon Kremer/Andrei Pushkarev

Amazon.com

Violinist Gidon Kremer and his ensemble, Kremerata Baltica, have tackled repertoire that ranges from Baroque to contemporary, but they seem to shine on the newer stuff. The group has an obvious ear for the music of the Baltic region, and Kremer's icy precision and passionate playing are tailor-made for the modern masters. On Silencio, Kremer delivers another stunning recording, this one featuring meditative music by a trio of composing mavericks: Arvo Pärt, Philip Glass, and Vladimir Martynov. Martynov may be the least-known of the three, but his work marks the disc's highlight composition, "Come In!" The moving piece for violin and orchestra--which features plenty of Romantic, lyrical playing (and the occasional sound of a door knocking)--is mystical but also tender and sweet. A string orchestra arrangement of Glass's String Quartet No. 2 ("Company") is almost as intense as the original played by Kronos. A short Pärt world premiere rounds out this disc: "Darf Ich" is a glorious piece for violin and orchestra reminiscent of Pärt's sublime "Summa". This is a gorgeous disc you'll get lost in; another gem from Kremer. --Jason Verlinde

Customer Reviews:

"Come In" -- Must Listening.......2005-01-26

I'm a fan of Glass and Part, but I have to confess that their music on this CD more or less went in one ear and out the other. That's not a bad thing, because I like their work and listen to plenty of it. I just, wasn't bowled over, is all.

(I was using the CD as background music; their works here may grow on me in time.)

I had to rush here to recommend this CD, though, because I was so moved by Vladimir Martynov's "Come In."

At first I was put off by it, because I had purchased the CD exactly because I am fans of Glass and Part, and I expected the CD to consist of music in their minimalist style.

Martynov's "Come In" struck me, at first, as being more Romantic, and I just wasn't sure what to make of it.

Soon, though, I completely forgot about style, and about the (annoying) work-related task I was attempting to perform while listening to this CD. "Come In" seduced me like I haven't been seduced by a piece of new music in a long time. I was close to tears in parts.

I lack a sophisticated vocabulary to discuss classical music, but I can tell you that "Come In" struck me as sweet and beautiful, but also complex, deep, and never cloying. I did feel that I was being invited into a numinous experience.

Later, when I read the liner notes, I was even more moved. What Martynov said about his piece and his goals, the ideas and sensations he wished to convey and evoke, worked perfectly for me.

Needless to say with Kremer, the musicianship is first rate.

Easy & not-easy, but all profound, moving & rewarding.......2001-07-02

A fascinating combination of "modern" works to appreciate on this disc. All quite different, powerful juxtaposition of styles and moods. Tabula Rasa, the "lead-off" composition by Arvo Part, packs stunning intensity of a dark, melancholy sort in Part's minimalist, yet melodic vein. Next is Glass's "Company" for string orchestra. Pardon my simple mind, but I really do enjoy the regular/irregular pulsing, throbbing undercurrent of his works. The style is highly characteristic, yet, within that signature framework, he pulls in just enough complexity and variation in my opinion to make this highly worthwhile fare. Then, "Come In" by Martynov. What can I say, this is easy listening, but a real deep "easy" at that. Positively brought a lump to my throat and then some! Tell you the truth, I was so drained after these first three pieces, that I had to take a break before the final item, Darf Ich by Part. Listen again & again when you're in a bit of a heavy mood that deserves musical concordance. The performance/performers work these treasures to the hilt. I'd pare my CD collection from 1200 down to 12, and "Silencio" would remain.

A minimalist delight........2001-02-17

First of all, why silence? And how?

After all, one has to agree with John Cage when he points out that "There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot."

What then does it mean to call an album "Silencio"?

I think what it means is that the music in this album tries not to communicate something to its listener, but rather aims at helping one communicate with one's Self. This lack of intentional outward interaction, and the parallel promotion of introspection, I think, is intended to be thought of as a silence. Indeed, the emotional landscape it allows us to observe is, perhaps, the closest thing to silence, for it is a still and timeless picture, void of any matter, absorbed in a heartbeat alone.

Technically this album is superb, with Gidon Kremer and his disciples proving to be, as always, up to the highest of expectations. The prepared piano in Arvo Pärt's Tabula Rasa deserves praise as well - I have never heard the piano sound so beautiful, evocative and majestic at once. As for Arvo Pärt, Philip Glass and Vladimir Martynov, they are, of course, a handsome lot to be found combined in one CD, with 68 minutes of music at a reasonable price by Nonesuch's standards. The nature of these composers, however, is what makes this album a product that not everyone is likely to care for. I feel quite certain that anyone who likes minimalist music - in the style of Gorecki or Kancheli, for instance - will find this album enticing. On the contrary, I recommend those who believe simplicity to be a symptom of stupidity to spend their money in a different way, for the music in this album is indeed a minimalist delight.

If You Can't Say Anything Nice, Silencio.......2000-12-19

Musically the Twentieth Century is like the month of March. It came in like a lion, with monumental orchestral masterpieces like the Mahler Symphonies, the Strauss Tone Poems, and Stravinsky's ballet scores. But as the artistic, political, and economic climate changed, the monumental became increasingly rare. Most living composers today will never have a performance of one of their works by a major professional symphony orchestra. And so, for the most part, the Twentieth Century goes out like a lamb, with the intimate replacing the enormous. And Gidon Kremer, with his string ensemble the Kremerata Baltica, reflects this aesthetic change in his new CD Silencio. Certainly one wouldn't expect heart-on-your-sleeve emotion and drama from a CD with this title, and there is none to be had here. I have to totally disagree with the writer who says this recording is full of drama--I found scarcely any at all. This CD contains four pieces; of them, only the first, Arvo Part's Tabula Rasa even attempts an aesthetic involving drama, and that only in the first movement. The title of this piece comes from the term for the pure, naive and innocent mind before it receives the impressions gained from experience, and this idea pervades the entire CD. In place of traditional liner notes with information about the composers and their works, we are given obtuse and somewhat ominous quotations by the performers and composers, such as the following from Kremer himself: "Our despair: a drop in an ocean. Death--the final bill, in which the challenge turns into a phantom. Ambitions, hopes, enchantment. All this finds its peace there in the world beyond. Words irritate. Gestures mislead. Emotions dissolve. Only sounds speak a language that might be understood. If one opens the heart, would there be someone receptive enough? But who is listening? Who is able to feel it? Often I do ask myself, where does a heartbeat identical to mine exist? And the attempt of an answer is: out there, on the other end of my own sound."

In addition to "Tabula Rasa", there is another work by the Estonian composer Part, "Darf Ich" (or "May I"), "Company" by Philip Glass in an arrangement for string orchestra, and "Come In" a piece commissioned by Kremer from the little known Russian composer Vladimir Martynov. But aside from the opening Part work, I find that the intimate tone of the CD is too consistently bland for my taste. There are better quiet works out there, that reach into a deeper place beyond the mere superficiality of Martynov's lengthy but unengaging "Come In". Although he began his career in an interesting way, moving from early efforts involving serialism, to electronics, to the composition of a religious Russian rock-opera, at some point he embraced the ideas of "holy minimalism" and from my perspective seems to have eliminated all traces of interest in his work. It is difficult to appreciate a composer who comes out of the soviet oppression with the attitude Martynov expressed when discussing another of his works, "I was once told that man touches the truth twice. The first time is the first cry from a newborn baby's lips and the last is the death rattle. Everytthing between is untruth to a greater or lesser extent. So why not try to go all the way from the death rattle to the first cry, from the last opus to the first? But that might lead us to see Stalin standing on the Mausoleum as innocent and lofty as a swallow, and a swallow gulping a mosquito in flight would seem no less nightmarish and monstrous than Stalin, who destroyed millions of lives. All this is terribly confusing and it is much better to forget all the conundrums and sink into sweet melancholy. And let this melancholy last as long as possible; I suppose that's the only answer to the question of reality." In the work presented here, Martynov sinks into sweet melancholy again, which is pretty enough, but to my ear as bland as wallpaper. For the three or four minutes any single movement lasts it is fine, but the entire 6 movement work lasting 27 minutes is all exactly the same, without any contrast. Why would a composer in this century be composing music like this? Where is the artistry, the vision, the craftsmanship? All of the great Romantic composers, from Beethoven to Mahler, did this same thing long ago and so very much better. And of the Glass piece presented here, the less said the better. Even the fabulous performance by the Kremerata Baltica, surely one of the finest string orchestras around, cannot raise my interest in a piece (written as incidental music to a Beckett play) which simply rehashes the same Glass harmonic and rhythmic formulas he has been working on for 40 years now. As I listen to this, I can't help but think that Glass forgot to write the melody. To be honest, I find the piece so lacking in any artistic merit that I will not even play an excerpt for you. I hate to be a Grinch about this, but this is a CD that I hope I don't find in my stocking this Christmas. I know it is not popular here at Amazon to be critical of the CDs one reviews, but there is so much better music out there, even with this same introspective aesthetic, that I cannot recommend this at all except as a superb performance of the Part Tabula Rasa, which has in fact been recorded by Kremer before. It's not that I dislike contemporary music, or minimalism, or intimate introspective music; quite the opposite--it's that I find these pieces very poorly done, and extremely disappointing examples of their ilk.

Silencio is Superb!.......2000-11-06

Gidon Kremer and Kremerata Baltica deliver another excellent recording in "Silencio", on the Nonesuch label. Featuring music of three twentieth century composers, this CD contains performances which are moving and dramatic.

Arvo Part's "Tabula Rasa" gets its most spacious recording yet on disc. The first movement, "Ludus", is performed with long pauses of silence between the dramatic utterances of strings and prepared piano. At 10:21, this is longer than any of the other three performances I own of this piece. The second movement, "Silentium", times at 18:24, including about a half-minute of recorded silence at the end of the movement. This is over five minutes longer than Neeme Jarvi's fine recording for Deutsche Grammophon. But length alone is not the measure of the caliber of this performance - orchestra and soloists give wonderful, broad performances, letting this great work breathe calmly and fully.

The four short movements of "Company" by Philip Glass are rich with color and rhythmic energy. Fans of Richard Einhorn's "Voices of Light" will enjoy this brief work.

"Come In" by Vladimir Martynov was a revelation. I found a single reference to this composer on the web - it mentioned stylistic similarities with Arvo Part and an output of predominantly sacred vocal music. "Come In" is a meditation on a hymn-like tune; the tune is restated in each of the six movements with slight changes in structure. Each restatement is followed by a variation for two violin soloists. The music is sweet, romantic without becoming sickening, and gives the effect of joyful anticipation frozen in sound. You will not want this piece to end, and when it does you will have to supply the closure. Whether or not the door is opened will be for you to decide.

The program concludes with a premiere recording of "Darf ich..." by Arvo Part. It shares harmonic similarities with "Kanon Pokajanen" and is once again superbly performed by Kremer and the Kremerata.

This disc goes on my short list of favorite recordings. You won't be disappointed!

Average customer rating: Old World Sound to Calm the Senses NOT OF THIS WORLD Spare brilliance Magnificat: Magnificent! If you only buy one Pärt CD, buy this one

Arvo Pärt Sanctuary Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD All Works by Part | Part, Arvo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music Concertinos | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Requiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music General | Strings | Instruments | Classical | Styles | Music London Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music General | Opera & Vocal | Styles | Music Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music Similar Items: Alina - Arvo Part Lamentate Silencio Tabula Rasa Arvo Pärt: De Profundis ASIN: B000002SRI Release Date: 1998-02-17

Tracks:

1. Cantus In Memory Of Benjamin Britten
2. Summa
3. The Beatitudes - Stephen Cleobury
4. Fratres (Version VI) - The London Philharmonic
5. Festina Lente
6. Magnificat - Stephen Cleobury
7. De profundis - Estonian Philharmonic Chamber Choir
8. Tabula Rasa: Silentium

Customer Reviews:

Old World Sound to Calm the Senses.......2007-01-03

Beautiful, pure, and often heavenly are my select words to describe this CD.

NOT OF THIS WORLD.......2004-08-31

Tabula Rasa: Silentium : This music is not of this world. I worship/pray in silence while driving with this music on with a palm facing the windshield. The haunting, surreal background...the two main violins mournfully cries out aloud...yet so beautiful...my heart cries with them.

Spare brilliance.......2003-01-08

Spending a lot of words describing Pärt's music seems like defeating the purpose. It is transcendent, haunting, solemn, quiet, and all the other things the other reviewers say. I view it, stylistically, as somewhere between the minimalism of Glass et al, and the ambient textures of Steve Roach -- if that description makes any sense. I find myself a little more at home with his instrumental pieces than his choral work, but that's just personal preference.

This is a good first Pärt CD -- then you can move on to other works, especially his Te Deum.

Magnificat: Magnificent!.......2002-08-05

I realize the title of this review is pretty silly, but I had to think of something.
I have always enjoyed classical music, but not nearly as much as other genres... that is until a friend of mine gave me SANCTUARY. I listen to it all the time now. The genius of Arvo Part's music is that although it is quite somber, it is very beautiful. I think that if you don't like classical music now, you will once you listen to Arvo Part. My favourite piece is Magnificat, hence the title.

If you only buy one Pärt CD, buy this one.......2002-02-21

This exquisite recording is an "Arvo Pärt Sampler" that provides a great introduction to this wonderful composer. I bought it because it contains his two best-known short choral works, the Beatitudes and the Magnificat. The performances by the choir of King's College Cambridge are transcendent, as usual; it is very difficult to achieve the serenity of sound needed to communicate Pärt's music, but King's is perfect for it. The instrumental works are samples of Pärt's greatest hits including an especially heart-rending performance of the Cantus in Memory of Benjamin Britten.

Whether or not you enjoy the music of Arvo Pärt is partially a matter of temperament. Pärt is to music what contemplative spirituality is to prayer. To most of us, prayer involves talking to God; but to the contemplative, prayer means listening in receptive silence. Pärt is deeply contemplative, and his music speaks from this inner stillness, suspended in time. If you long for this inner stillness and peace, you will love Pärt; if not, his music will probably bore you. Silence plays an important part in his music. In the words of Arvo Pärt, "The most important things that happen between people who are very close to each other are not stated, are not even possible to express. One doesn't need to and shouldn't say anything." When you listen to Pärt, don't expect action, don't expect something to "happen." Just give yourself to the music and don't "do" anything - let God do it.

Average customer rating: Beautiful, Soulful, Choral Work Don't come to this music empty... Gentle introduction to Pärt; terrible recording My first Part of all Part's These works bring to mind the terrifying beauty of God Himself - truly awesome!

Arvo Part: Te Deum / Kaljuste, Estonian Philharmonic Chamber Choir Tonu Karljuste , and Estonian Philharmonic Chamber Choir Manufacturer: Ecm Records ProductGroup: Music Binding: Audio CD All Works by Part | Part, Arvo | ( P ) | Featured Composers, A-Z | Classical | Styles | Music General | Symphonies | Classical | Styles | Music General | Sacred & Religious | Classical | Styles | Music General | Classical | Styles | Music General | Strings | Instruments | Classical | Styles | Music General | Jazz | Styles | Music Vocal Works by Part | Part, Arvo | M to P | Featured Composers, A-Z | Opera & Vocal | Styles | Music General | Opera & Vocal | Styles | Music Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music Te Deum | Vocal Non-Opera | Opera & Vocal | Styles | Music ECM Classical | ECM Records | Amazon.com Label Stores | Stores | Music ECM Jazz & World | ECM Records | Amazon.com Label Stores | Stores | Music More Titles at Least 20% Off | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Part, Arvo | ( P ) | Composers, A-Z | Classical Music Blowout | Stores | Music Opera & Vocal | Classical Music Blowout | Stores | Music Similar Items: Arvo Pärt: De Profundis Alina - Arvo Part Tabula Rasa Arvo Pärt Sanctuary Lamentate ASIN: B000024ZDF Release Date: 1999-11-16

Tracks:

1. Te Deum
2. Silouans Song
3. Magnificat
4. Berliner Messe: Kyrie
5. Berliner Messe: Gloria
6. Berliner Messe: Erster Alleluiavers
7. Berliner Messe: Zweiter Alleluiavers
8. Berliner Messe: Veni Sancte Spiritus
9. Berliner Messe: Credo
10. Berliner Messe: Sanctus
11. Berliner Messe: Agnus Dei

Amazon.com essential recording

Though these pieces are typical of Pärt's style, they seem less bleak than those on previous discs. The Te Deum, while often in a minor tonality and sometimes imposing, has a suitable extroverted quality; the Magnificat, with its hushed intensity, does seem solemn, but its cadences are striking, typically resolving from a tonal chord to a shimmering major-second dissonance. The Berliner Messe includes not only the Mass ordinary, but also three propers for Pentecost, and displays a range of moods from nervous penitence in the Kyrie to lively good cheer in the Credo to serenity in the Agnus Dei. Best is the sequence "Veni sancte spiritus," sung largely in unison to a haunting 6/8 melody. Tiny Estonia, Pärt's homeland, has provided him with some impressive interpreters. --Matthew Westphal

Customer Reviews:

Beautiful, Soulful, Choral Work.......2007-01-31

Although my main genre of music is derived from the 60's, 70's rock and pop music, I also spent many Sundays attending church and listening to the work of the choir. I would say that I have a strong spiritual side, and so Arvo Part touched this part of my heart. I heard it on NPR when they were asking listeners for the albums that were essential in their collection. The person commented that this music centered them. I listened to the entire album on the radio on a Saturday night, even though I was about to head out to listen to other types of music.

The music is beautiful, soulful, and spiritual. The choral harmonies sound something like Thomas Tallis, but has instrumentation supporting the choir. The music is very slow and uses "silence" as part of the work. So be prepared to be put into a meditative state - one where peace is felt. A truly awesome piece of music.

Don't come to this music empty..........2006-06-10

My opinion of much of the spiritual minimalist music that may be criticised as dull, boring, incomplete, or whatever adjective you care to insert, is that unlike the "great" music of Bach, Mozart, Beethoven, etc, this spiritual music requires you to bring something to it to have meaning. Anyone can listen to Mozart and get pretty much the same thing from it because it's perfect and complete. There's nothing more to add. And that's why I can't stand it. Like vanilla ice cream, the great German masters serve as nothing but a center for music to expand away from.

However, where one can put on Silouans Song and hear a dull film score, others can meditate on the music and be moved beyond words. The "inaudible" Berliner Messe concludes with the Agnus Dei. I will never escape the memory of listening to the piece at night under the stars next to a high alpine lake in California's Sierra Nevada Mountains. The Agnus Dei section is as cold as ice, as bare as outer space, and with the Dona Nobis Pacem it melts, while keeping the melodic line of the first section, into the most comforting, heart-warming music. Atheist that I am, I can't help but feel that I'm not alone. Listen to it under the stars in the wilderness.

The major work, the Te Deum, is incredible in its own way. You cannot hear the music begin, but gradually become aware of what I assume is a piano string being played with a mallet. The sound reappears throughout the work, and at the huge climax you feel almost as if airplanes are taking off in the church. The ending, repeated statements of "Sanctus", fades out in almost as beautiful a manner as the Agnus Dei of the mass ends. Almost, but not quite.

There isn't another living composer like Part, and this is one of the finest discs of his music.

Gentle introduction to Pärt; terrible recording.......2006-02-14

If you've not previously listened to Pärt's music, this is a reasonable place to start. I prefer Tabula Rasa, however, and suggest that as a better alternative.

Unfortunately, the recording quality of the title work is atrocious. At several points, the vocals swell to aching levels...and just then, the sound is reduced to ear tearing distortion. No, folks, that isn't the power of an omnipotent, imaginary friend reaching through your stereo; that's really bad level setting.

Here's hoping ECM sees fit to make a proper recording of this one.

My first Part of all Part's.......2006-02-08

I have no idea why I first selected this CD while browsing in a store but I have since used Amazon to order most of Arvo Part's recordings. I am not sure how you would select a favorite -- I would certainly not agree that this is among the worst! I would say it still ranks as one of my favorites. I also agree this music is not for the car! This is certainly for when you want to be contemplative. If you feel rushed and overwhelmed by contemporary life, put on a Part CD and close your eyes and stress will melt away. This music is a ticket to timelessness and peace. Who would have thought a modern composer could have found a way to out do the Medievals this way? Progress has not stopped nor has it ignored our spiritual side.

These works bring to mind the terrifying beauty of God Himself - truly awesome!.......2005-12-01

Arvo Part exhibits absolute mastery of sacred vocal writing. It is the culmination of a millenium of sacred music; as though Tallis, Byrd, Bach, Mozart, Brahms, Faure and every other writer of sacred music had simply cleared the way for this man. Part assimilates you into his music in the opening passages and holds you in his powerful grip until after the last phrases have been uttered.

The glory is not given only to the voices, either. These works are also scored for strings and some of the most beautiful passages are given over to them. Dissonance is used throughout in all voices with terrifying beauty and brings to mind what it may be like to behold the presence of God Himself. There are many stunning climaxes that resolve the discord throughout the work - everyone infinitely satisfying and never dull. These are truly works of awe-inspiring proportions, particulary the Te Deum and this does them justice. It will lift your mind and heart and never cease to amaze.

Average customer rating: Trite Not Treat "Before the sh*t, there was a mighty fine meal" - W.A. Mozart Cage for people who don't like modern music In A Landscape = unmatched beauty Great for old and new listeners

John Cage: In a Landscape Manufacturer: RCA ProductGroup: Music Binding: Audio CD Cage, John | ( C ) | Featured Composers, A-Z | Classical | Styles | Music Character Pieces | Short Forms | Forms & Genres | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music Similar Items: Cage: Sonatas and Interludes for Prepared Piano Insomnia John Cage: Music for Prepared Piano, Vol. 2 Silence: Lectures and Writings Indeterminacy ASIN: B000003EL7 Release Date: 1995-01-10

Tracks:

1. In A Landscape
2. Music For Marcel Duchamp
3. Souvenir
4. A Valentine Out Of Season
5. Suite For Toy Piano
6. Bacchanale
7. Prelude For Meditation
8. Dream

Customer Reviews:

Trite Not Treat.......2006-02-23

There is a common assumption, particularly among the musical literati, that if a piece is novel, obscure, extremely simple, unchromatic or simply weird, it must, by definition, be quality material. Sheer novelty trumps quality. I am reminded of having to hunker down at the Symphony as the conductor launches into an extended "explanation" on why this next piece may not have a melody, discernable beat, nor employ "ordinary" instruments, yet is still a fine piece of art. (Chances are the majority of comments will be along the lines of, "What in the world was that thing with bongo drums & basketballs?"

I am the first to admit the artistry, perhaps musicality of Cage even when he takes himself AND his music too seriously. At least we did not have to "listen" to 4'33". One reviewer was correct - this is perhaps the most accessible offering of the entire ouevre. It is...interesting in a childish sort of way, sort of like someone who learns that hitting notes on a keyboard results in sounds or better, is playing just to hear the sounds that can be produced. DREAM perfectly expresses the mood of this CD (which is wonderful as party backgroup music) with its enigmatic, almost shy explorations. The tracks are united by an almost wordless fear of being closely examined. A few contain a nice rhythmic drive, others remind one of that godawful New Age stuff heard on public radio occasionally. The CD is compelling only if one takes their music with a huge dollop of tenuousness.

"Before the sh*t, there was a mighty fine meal" - W.A. Mozart.......2006-02-01

The bigger sin would be to have been born before Bach and bitch about the dearth of music celebrating things other than mankind's moribundity. We listeners - and listeners of greater rotundity, too - must wade backward through some rather insensible attempts to make music of the kind that might be called classical. Very generally our near contemporaries have either soaked us all heavy with a riptide of sentimentality or made of mockery of sound so effectively that we have all soaked them with our unceasing flows of laughter.

Before Picasso was making a bloody mess of things he was making something approximating art; and in between those conical eyes and angular breasts I can nearly find the remnants of that once sane man. John Cage had me in stitches for a time when I had the patience and credulity to stop long enough to listen. He reminded me that the piano was a percussive instrument - one to be hardly banged upon in the chorus of creation and muse.

Between then and the very moment I received `In a Landscape' John Cage was merely a mark of reference denoting that point at which I stopped taking his work and my life too seriously. But `In a Landscape' - or as I spooneristically name it, "In a Cage" - is something unlike the curious Cage and something more than the mere "bleats beyond the reckoning table."

Though I have no faith in my own estimation of what is good or deserving of praise, I do know what I hate; AND THIS I DO NOT HATE. `Landscape' is - I think - a collection of sparse and haunting melodies that seems to fit well with me when reading Joseph Campbell's "Hero" or Richard Feynman's "6 Easy Pieces." `In a Landscape' is to my ear almost great. I think this is so because I tend to lean in when I listen, and this "leaning in" is a gesture I've never offered John Cage or his music when stuck between him and his variations.

Cage for people who don't like modern music.......2004-01-25

Stephen Drury has been a great servant of John Cage's music for many years, mostly recording for small labels such as Mode (who honoured him by putting him, along with Irvine Arditti, on their 100th release). In this, one of Drury's few recordings for a major label, he concentrates on Cage's more accessible music, for piano, prepared piano (a piano with objects placed on the strings to turn it into something between a piano and a percussion instrument), organ and even a toy piano.

In A Landscape is a 1948 work in which simple Satiesque melodies are played on a piano with the sustaining pedal held down, creating a soft haze of harmonies. This could easily be simple kitsch, but Cage's careful musical judgement allows the music to be sonically beautiful without degenerating into New Age mush. Music for Marcel Duchamp, a 1947 film soundtrack for prepared piano, takes a single melodic line and spins it out intriguingly, insistent rhythms mollified by soft modal harmonies and long silences. Souvenir, a 1983 organ composition, continues the Satiesque aesthetic with its gentle progress, repetitions and modal harmonies. It is certainly sonically beautiful, though I find it goes on a little too long for my taste.

A Valentine Out Of Season is a set of three brief pieces for prepared piano, written in 1944 (the title refers to the break-up of Cage's marriage). The first piece is slow and chromatic, the second a vigorously rhythmic dance and the last combines the characteristics of the two preceding pieces. Rather slighter is the 1948 Suite for Toy Piano, which makes about as much music as can be made from an instrument with only nine notes. A major contrast to this is the 1940 Bacchanale, Cage's first work for prepared piano, a vigorous, repetitive dance that keeps suddenly losing its rhythmic vigour, then recovering it.

The disc ends with two slow pieces. The brief, white-note Prelude for Meditation was written for prepared piano in 1944 and is Satiesque in its rhythmic and harmonic restraint. Dream, a 1948 piano piece, returns to the atmosphere of In A Landscape, though I don't think it's quite as striking as that piece.

With the exception of In A Landscape, I would regard the works on this disc as minor rather than major Cage. Nonetheless, Drury's sympathetic performance approach brings out the best in these attractive pieces, and this disc would make a very good first taste of Cage for listeners of a more conservative bent.

In A Landscape = unmatched beauty.......2003-05-29

In my opinion, John Cage's In A Landscape is THE most beautiful peice for piano of absolute all time. Never has there been a classical peice for this instrument that truely got to me personally than this. And never will there ever be. In A Landscape goes beyond 'music' and is an entity in itself that speaks on many levels. It's so simple and yet is so powerful. This is a must for any music lover or/and a person who would like to get to know the many works of John Cage.

Great for old and new listeners.......2002-08-04

...For a new listener this album is perfect. It's beautiful, and accessible and just all around pleasing to listen to. The piece "In A Landscape" is the first piece I play for anyone who says they don't like John Cage. They're usually sold within the first 30 seconds of the piece. The ambience and simplicity of this piece is so striking, but Cage's take on harmony (which is especially challenging in a piece that's so focused on melody) keeps the piece from sounding new age.
Anyone just starting out with John Cage, start here. If this strikes you well, check out "Music For Changes" and then the Sonatas and Interludes for prepared piano. Beyond that I highly encourage anyone to do some research, read some of Cage's writings, especially a collection of essays and lectures titled "Silence." As his life progresses, his music becomes more minimal and disjointed, and his words really strike down exactly what it is he's trying to accomplish with his music, and that really helps the listener.
For listeners that are already very familiar with Cage's work, this still isn't a waste. These recordings are a great collection of some nice Cage pieces that don't get as much attention, and is still a really pleasing album to listen to.

Average customer rating: I defer to Mr. White, but I like this disc A groundbreaking concept for the time but somewhat flat... strange, but rewarding Cage has a revolution with this work. An unexceptional performance of an important early Cage work

Cage: Sonatas and Interludes for Prepared Piano Manufacturer: Naxos ProductGroup: Music Binding: Audio CD Cage, John | ( C ) | Featured Composers, A-Z | Classical | Styles | Music Character Pieces | Short Forms | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music CDs $7 - $10 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: John Cage: Music for Prepared Piano, Vol. 2 John Cage: In a Landscape Insomnia Indeterminacy John Cage: Early Piano Music ASIN: B00000JMYM Release Date: 1999-07-20

Tracks:

1. Sonatas And Interludes For Prepared Piano: Sonata I
2. Sonatas And Interludes For Prepared Piano: Sonata II
3. Sonatas And Interludes For Prepared Piano: Sonata III
4. Sonatas And Interludes For Prepared Piano: Sonata IV
5. Sonatas And Interludes For Prepared Piano: First Interlude
6. Sonatas And Interludes For Prepared Piano: Sonata V
7. Sonatas And Interludes For Prepared Piano: Sonata VI
8. Sonatas And Interludes For Prepared Piano: Sonata VII
9. Sonatas And Interludes For Prepared Piano: Sonata VIII
10. Sonatas And Interludes For Prepared Piano: Second Interlude
11. Sonatas And Interludes For Prepared Piano: Third Interlude
12. Sonatas And Interludes For Prepared Piano: Sonata IX
13. Sonatas And Interludes For Prepared Piano: Sonata X
14. Sonatas And Interludes For Prepared Piano: Sonata XI
15. Sonatas And Interludes For Prepared Piano: Sonata XII
16. Sonatas And Interludes For Prepared Piano: Fourth Interlude
17. Sonatas And Interludes For Prepared Piano: Sonata XIII
18. Sonatas And Interludes For Prepared Piano: Sonata XIV and XV Gemini (After the work by Richard Lippold)
19. Sonatas And Interludes For Prepared Piano: Sonata XVI

Customer Reviews:

I defer to Mr. White, but I like this disc.......2006-04-27

Edward Wright (see above review) knows more about this stuff than I do. I'm impressed that he has heard not one, not two, not three, but *four* different versions of Cage's Sonatas and Interludes! I thought I was doing great to hear just this one.

I have for a long time been interested in Cage as a sort of iconoclast and philosopher of sorts, so I picked this up at the good old Naxos bargain price, brought it home, listened to the first few pieces, and said, "What is this crap?"

But being no complete musical moron, I figured the idea of the music would grow on me, and grow on me it did. Lately, I want to hear this CD--not my Schubert or Beethoven--all the time. What initially sounded random and chaotic now seems magical. This music is by and large more rhythm and texture based than harmony based. It's tough music. I wonder what Ives would have thought of it (he never heard it, as far as I know).

When I hear Cage, I'm proud to be an American. The same goes for when I hear Ives.

I like this whole CD, but my favorite piece is, now at least, probably the Second Interlude, especially the last minute or so of it. It has a droning, clocklike, dreamy quality to it, but there might also be a little menace there as well, like the soundtrack to a slightly threatening dream. Much of this is, in fact, rather dreamlike.

This CD is positively not conventional Western music. The prepared piano highlights the percussive quality of the instrument (see Sonata 5), and the music seldom repeats itself thematically. It is brimming with ideas, but these are not ideas that everyone will find all that interesting.

A groundbreaking concept for the time but somewhat flat..........2005-06-16

John Cage was obviously both a musical visionary and renegade. Most of his key musical ideas and philosophy completely challenged and even shatttered three centuries of musical development. The idea of literally destroying a piano would have seemed blasphemous to the great classical composers, however Cage realised that music need not be so strict and constricting. The prepared piano was a simple but groundbreaking idea in its time, however today this music feels pointless and the listener is left feeling detached and uninspired. This release is probably best listened to for analytical purposes only.

strange, but rewarding.......2005-01-07

I arrived at this cd coming from the angle of electronic (dance) music. I can stand quite a bit of experiment, and I like music that sounds like machines. Where the music on this cd is not so machine like, it does have the same clinical, at times nearly desolate feel. The way the composer creates that feeling is rather unique i'd say. The feeling reminds me of the electronic music by the likes of frank bretschneider and some other mille-plateaux artists, even though the means of performance are rather different. It's a feeling that not everyone likes. And it's a feeling for special occasions. I enjoy this cd most on traintrips very early in the morning. Should say that I can hardly ever listen the cd untill the end. That's just too much. But I have experienced some of those magical listening moments when listening to this cd.

So, it may not be for everyone, it may not be for anytime, but I do recommend trying it.

Cage has a revolution with this work........2004-07-13

John Cage has written his best pieces for prepared piano during 1946-1948,when he composed the sonatas and interludes for this particular genious instrument.His approach to the rythmic structure instead of the harmonic one,is shooting excellent results,which are interesting to the ear,and simply creating something new,enjoyful.Another thing no one did before Cage until this work,is putting inside the music Zen Buddhism and Hinduism influences-the music remindes us of these eastern culture very well-and only for the best.The result is amazing,feeding us with wonder and excitement.
The work may also remind you modern-like dance tythms,and it is obvious,fore Cage has worked during that period as the director for the Merce Cunningham ballet(The works he had written for the Cunnigham ballet are some of his best).
The percussion effects produced by the prepared piano are wonderful,,and unbelivable,hearing a whole percussion orchestra,and sometimes you may want to shake your hooks with these maccabre effects.
A classical John Cage work from his earlier years,worth of everything in order to hear how wonderful and interesting and new it sounds,even until today.
The performance here by Boris Berman is excellent and quite assartive-I like it very much.He truly understands The music of Cage,though sometimes I feel he lack the excitement of these works.All by all,still an excellent performance,and a very interesting conrtol over the preapred piano.

An unexceptional performance of an important early Cage work.......2004-01-08

John Cage's Sonatas and Interludes have long been one of his most popular works (if popular means anything in the case of Cage). They are written for a piano prepared by inserting various objects onto the piano strings so as to partially dampen the sound in a variety of different ways. This preparation results in the piano becoming almost a one-man percussion orchestra (the comparison to Indonesian gamelan is useful, if oversimplistic). In addition, when the piano is prepared as Cage requests, each note has its own distinctive timbre as well as pitch, thus creating a link between these two musical elements.

The Sonatas and Interludes were inspired by Cage's study of Hindu aesthetics as discussed by Ananda Coomaraswamy, and were an attempt to create music based around the Hindu theory of the nine emotions (the "white" emotions of heroism, eroticism, mirth and wonder and the "black" emotions of fear, anger, sorrow and disgust, all tending towards the most important emotion, tranquility). The result was a collection of twenty single-movement pieces, lasting something over an hour in complete performances. The sixteen sonatas are mostly based on repetitive rhythms and brief, fragmentary modal melodies, while the four interludes tend to be rather more rhythmically varied than the sonatas.

There have been many recordings made of this set of works (the invaluable John Cage discography at http://www.johncage.info lists no fewer than 20 rival recordings), and it would be foolish to claim that Boris Berman's matches up to the best of them (Karis, Schleiermacher, Goldstein and Henck all have prior claims on the listener). In particular, Berman occasionally rushes the music, disturbing the intended tranquil feel, and his Russian-sounding espressivo playing in some of the sonatas seems distinctly at odds with Cage's aesthetic. I wonder if this recording was not made too soon, as Berman's second bite at the Cage cherry (a collection of miscellaneous prepared piano pieces recorded a year later and also available on Naxos), displays a distinctly greater empathy for the idiom.

Average customer rating: excellent but uncomplete To call it music may be a bit limiting. A worthwhile collection OhMyGodHowDreadful Kid Stockhausen

OHM: The Early Gurus of Electronic Music Various Artists Manufacturer: Ellipsis Arts ProductGroup: Music Binding: Audio CD Waltzes | Ballets & Dances | Classical | Styles | Music Cage, John | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Messiaen | Messiaen, Olivier | ( M ) | Featured Composers, A-Z | Classical | Styles | Music Reich, Steve | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Riley, Terry | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Stockhausen, Karlheinz | ( S ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Tchaikovsky | Tchaikovsky, Peter Ilyich | ( T ) | Featured Composers, A-Z | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Electronic | Instruments | Classical | Styles | Music | Computer General | Classical | Styles | Music Ambient | Dance & DJ | Styles | Music General | Dance & DJ | Styles | Music Electronica | Dance & DJ | Styles | Music Electronica | Compilations | Dance & DJ | Styles | Music General | Dance Pop | Dance & DJ | Styles | Music Minimal Techno | Techno | Dance & DJ | Styles | Music Avant Garde & Free Jazz | Jazz | Styles | Music General | New Age | Styles | Music Movie Scores | Soundtracks | Styles | Music Movie Soundtracks | Soundtracks | Styles | Music General | Soundtracks | Styles | Music Pop Rock | Pop | Styles | Music General | Vocal Pop | Pop | Styles | Music Progressive Rock | Progressive | Rock | Styles | Music Experimental Rock | Rock | Alternative Styles | Alternative Rock | Styles | Music Experimental Music | Miscellaneous | Styles | Music General | Dance & DJ | Box Sets | Stores | Music Electronica | Dance & DJ | Box Sets | Stores | Music General | Dance & DJ | Indie Music | Stores | Music Electronica | Dance & DJ | Indie Music | Stores | Music Similar Items: An Anthology of Noise & Electronic Music, Vol. 3: 1952-2004 Audio Culture: Readings in Modern Music Roxy Music Profiler - Season 4 A Decade of Hits ASIN: B00004T0FZ Release Date: 2000-04-25

Tracks:

1. Valse Sentimentale - Clara Rockmore
2. Oraison - Ens D'Ondes De Montreal
3. Etude Aux Chemins De Fer - Pierre Schaeffer
4. Williams Mix - John Cage
5. Klangstudie II - Herbert Eimert/Robert Beyer
6. Low Speed - Otto Luening
7. Dripsody - Hugh Le Caine
8. Forbidden Planet: Main Title - Louis Barron/Bebe Barron
9. Elektronische Tanzste: Concertando Rubato - Oskar Sala
10. Poem Electronique - Edgard Varese
11. Sine Music (A Swarm Of Butterflies Encountered Over The Ocean) - Richard Maxfield
12. Apocalypse-Part 2 - Tod Dockstader
13. Kontakte - James Tenney/William Winant
14. Wireless Fant - Vladimir Ussachevsky
15. Philomel - Milton Babbitt
16. Spacecraft - MEV

Tracks:

1. Cindy Electronium - Raymond Scott
2. Pendulum Music - Sonic Youth
3. Bye Bye Butterfly - Pauline Oliveros
4. Projection Esemplastic For White Noise - Joji Yuasa
5. Silver Apples Of The Moon, Part 1 - Morton Subotnick
6. Rainforest Version 1 - David Tudor
7. Poppy Nogood - Terry Riley
8. Boat-Woman-Song - Holger Czukay
9. Music Promenade - Luc Ferrari
10. Vibrations Composees: Rosace 3 - Francois Bayle
11. Mutations - Jean-Claude Risset
12. Hibiki-Hana-Ma - Iannis Xenakis
13. Map Of 49's Dream The Two Systems Of Eleven Sets Of Galactic Intervals: Drift Study '31/69 c.... - La Monte Young

Tracks:

1. He Destroyed Her Image - Charles Dodge
2. Six Fants On A Poem By Thomas Campion: Her Song - Paul Lansky
3. Appalachian Grove - Laurie Spiegel
4. En Phase/Hors Phase - Bernard Parmegiani
5. On The Other Ocean - David Behrman
6. Stria - John Chowning
7. Living Sound, Patent Pending Music For Sound-Joined Rooms Series - Maryanne Amacher
8. Automatic Writing - Robert Ashley
9. Canti Illuminati - Alvin Curran
10. Music On A Long Thin Wire - Alvin Lucier
11. Melange - Klaus Schulze
12. Before And After Charm (La Notte) - Jon Hassell
13. Unfamiliar Wind (Leeks Hills) - Brian Eno

Amazon.com

Opening with Clara Rockmore's reworking of Tchaikovsky with the theremin, and finishing with one of Brian Eno's ambient soundscapes, OHM artfully succeeds in its goal of giving a representative (as opposed to the impossible, comprehensive) overview of the first several decades of electronic music. Over 3 discs, 42 compositions, and 96 pages of notes and photos, OHM clearly illustrates the producers' and contributing writers' point that early electronic music is much of the foundation of contemporary music. Herein lies the connective tissue bridging musique concrète, 20th-century classical, electronic experimentation, and the theoretical avant-garde to psychedelia, ambient, dub, techno, electro, and synthpop and the globalization of sound. The groundbreaking uses of loops, sampling, drones, remixes, and cut-and-paste technology are put fully into context. The diversity of music included makes any sort of summation impossible, but that is also the point: electronic music is not really a genre, but an open field of endless possibility. From John Cage's famous "William's Mix" of tape snippets to Karkheinz Stockhausen's electronic orchestral compositions, from David Tudor and Holger Czukay's experiments in unrelated blendings of audio elements to David Behrman's supremely peaceful duet between computers and musicians, the aural renegades on OHM tread where none (save a few of their contemporaries) had gone before. The liner notes convey the incredible amount of hard work and experimentation it took to stitch together many of these pieces in the predigital era. Putting aside the inevitable quibbles about what's missing (much of it due to legal and/or logistical issues), a more complete collection of musical eggheads, eccentrics, and visionaries is hard to imagine. --Carl Hanni

Customer Reviews:

excellent but uncomplete.......2006-11-12

Althought most of the music here is an excellent collection of electronic music history, this 3 CDs lack of the important contribution given by the RAI phonology studios of Milan, Italy in the 50s
(which was bigger than Koln's WDR studios) with Bruno Maderna, Luciano Berio and Luigi Nono.
This is a big mistake. Milans studios were the biggest of europe and produced many important electroacoustic pieces.
If the collection aim to describe faithfully electronic music history, it should include this artists too.

To call it music may be a bit limiting. .......2006-10-24

Some of the tracks on here are "music". That is that they contain all the bits we're trained to experience as music -- melody, etc. Some are not, and the composers would be the first people to tell you that. A lot of these works are reactions to ingrained rules, so they're bound to be jarring.

A more successful way to approach such a broad and varied collection of audio experimentation is to think of it as curated sound. This isn't something to wash the dishes to, or to seduce someone to (although if you did manage to seduce someone with the recordings on this anthology, HOLD ON TO THAT PERSON, because they've got to be a keeper). These are unique sound textures that deserve a close, probably solitary listen, and I think if you're in the right frame of mind, it can be a very rewarding listen.

My main complaint is sequencing: each dicrete piece follows it's own internal logic, so there are more than a couple rough gear changes. However, since each piece is so different, and the collection is so varied, I'm not sure that you could totally escape that.

A worthwhile collection.......2006-01-11

The OHM collection contains some of those ground breaking electronic compositions that have shaped today's styles, from the early electronic instruments of Theremin and Martenot, through Pierre Schaeffer's Music Concrete tape music and the electronic music of Stockhausen and Subotnick, to the mainframe computer output of Risset and Chowning.

It is unfair to mark this collection down due to the production quality and 'musicality' of its contents, to do so would be to staggeringly miss the point of the development of electronic music through the 20th Century. What this collection shows is the ideas behind those at the cutting edge of the genre before many could even conceive of such output. That said it is hard going at points, as experimental music can be.

Highlights for me are no doubt Olivier Messiaen's 'Oraison' on CD 1, David Tudor's 'Rainforest Version 1' on CD 2 and on CD 3 David Behrman's 'On the Other Ocean' and Maryanne Amacher's 'Living sound Patent Pending'.

OhMyGodHowDreadful.......2005-08-15

Ok, this collection is supposed to be early works and, thus not expected to be very sophisticated or polished. But the OHM collection sounds like the first attempt of a spastic cat turned-loose on a Moog keyboard. When it is not boreing, this collection of random and dissonant sounds (I can't call it music) is without any redeeming qualities to make it worth while. Don't get me wrong, I am a long-time fan of Wendy (nie Walter) Carlos and some other real pioneers of electronic music. However, I find that the Ohm collection has no similar qualities and is a major disappointment.

Kid Stockhausen.......2003-01-17

This is required listening for anybody interested in the history of electronic music. Although implicitly aiming for the techno music audience, this audio history is overwhelmingly focused on the classical avant-garde of electro-acoustic composers. The closest you'll get to pop electronica is the Brian Eno track at the end of the third disc. No Kraftwerk, no Moroder, etc. Instead "OHM" manages to point to the continuities between, say, John Cage and artists currently working at the experimental edges of electronica (so-called IDM). It seems to be saying, "You think Kid 606 is visionary? Well check out this Stockhausen track from '59!"

Admittedly, some of the songs are much more interesting to think about than they are to listen to. Some of the early pieces that were made through thosuands of hours of pains-taking tape-splicing could be made today in an afternoon with a digital audio editor and a few effects plug-ins.

It is a beautiful package, containing a 90 page booklet of essays, quotations from the featured artists, and photographs. What all music should be: an education in daring.

Average customer rating:

American Classics Sampler Manufacturer: Naxos American ProductGroup: Music Binding: Audio CD Galops | Ballets & Dances | Classical | Styles | Music All Works by Barber | Barber, Samuel | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Cage, John | ( C ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Gottschalk | Gottschalk, Louis Moreau | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Morton Gould | Gould, Morton | ( G ) | Featured Composers, A-Z | Classical | Styles | Music Grofé, Ferde | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Glass | Glass, Philip | ( G ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Hanson | Hanson, Howard | ( H ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Herbert | Herbert, Victor | ( H ) | Featured Composers, A-Z | Classical | Styles | Music Ives, Charles | ( I ) | Featured Composers, A-Z | Classical | Styles | Music All Works by MacDowell | MacDowell, Edward | ( M ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Piston | Piston, Walter | ( P ) | Featured Composers, A-Z | Classical | Styles | Music All Works by Sousa | Sousa, John Philip | ( S ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Character Pieces | Short Forms | Forms & Genres | Classical | Styles | Music Suites | Forms & Genres | Classical | Styles | Music Marches | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music General | Ives, Charles | Composers | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music Symphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music General | Keyboard | Instruments | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music General | Symphonies | Classical | Styles | Music Modern & 20th Century | Symphonies | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Compilations | Classical | Styles | Music General | Opera & Vocal | Styles | Music Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music English | Languages | Opera & Vocal | Styles | Music Marches | Miscellaneous | Styles | Music CDs Under $7 | Classical General | Classical | Today's Deals in Music | Formats | Music All Bargain Titles | Classical General | Classical | Today's Deals in Music | Formats | Music 4-for-3 Classical | 4-for-3 Music | Stores | Music 4-for-3 All Music | 4-for-3 Music | Stores | Music Similar Items: Catch a Shining Star: A New Generation of Classical Artists A Celebration of Defining Moments in Recording History Great Artists of the Century: 25 Launch Releases The Story of American Classical Music Victor Herbert: Columbus Suite/ Irish Rhapsody/ Auditorium Festival March ASIN: B00005LMZU Release Date: 2001-06-19

Tracks:

1. March: Hands Across The Sea
2. Dizzy Fingers
3. Mississippi Suite-I. Father Of Waters
4. Tournament Galop
5. From A Moonlit Ceremony-I. Evocatioin
6. Violin Concerto-I
7. Melody For Violin And Piano, Op.44
8. Al Fresco
9. The Breaking Heart
10. Andante Moderato
11. Camptown Races
12. Prelude For Meditation
13. I. Allegro Moderato Grazioso
14. Adagio For Strings
15. Love Duet
16. Hexentanz

Average customer rating: good starters cd for schnittke Great Introduction to Schnittke Courtesy of Kremer classical, or a creature of its own? I REQUIRE YOU TO LOVE THE MUSIC OF SCHNITTKE AS MUCH AS I DO

Kremer Plays Schnittke Manufacturer: Polygram Int'l ProductGroup: Music Binding: Audio CD All Works by Schnittke | Schnittke, Alfred | ( S ) | Featured Composers, A-Z | Classical | Styles | Music Concertinos | Concertos | Forms & Genres | Classical | Styles | Music Concerto Grossi | Concertos | Forms & Genres | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Violin | Strings | Instruments | Classical | Styles | Music Kremer, Gidon | ( K ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Classical | Imports | Stores | Music Similar Items: Schnittke: Chamber Music Schnittke: Complete String Quartets Schnittke-Concerto Grosso No. 2/Viola Concerto Alfred Schnittke: Concerto Grosso No. 4 - Symphony No. 5 / Pianissimo for Large Orchestra Schnittke: Cello Concerto No.2; In Memoriam ASIN: B000001GNL Release Date: 1994-08-22

Tracks:

1. Con grosso No.1: 1. Prelude: Andante
2. Con grosso No.1: 2. Toccata: Allegro
3. Con grosso No.1: 3. Recitativo: Lento
4. Con grosso No.1: 4. Cadenza [without tempo marking]
5. Con grosso No.1: 5. Rondo. Agitato
6. Con grosso No.1: 6. Postludio. Andante-Allegro-Andante
7. Quasi una son - Gidon Kremer/Yuri Smirnov
8. Moz-Art a la Haydn - Gidon Kremer/Titiana Grindenko
9. A Paganini - Gidon Kremer

Customer Reviews:

good starters cd for schnittke.......2003-04-02

I have just started to listen to schnittke music. I saw this and got it and have not stopped listening to the power of the music.
The concerto grosso for violins, harp, and piano is something else

Great Introduction to Schnittke Courtesy of Kremer.......2002-11-30

This is a splendid introduction to those like myself who are unfamiliar with Schnittke's oeuvre. It's a fine mixture of chamber music and small orchestral pieces, highlighting the splendid playing of violinist Gidon Kremer and the Chamber Orchestra of Europe. Judging from this CD, Kremer surely must be regarded as one of Schnittke's most passionate advocates, judging from his electrifying, technically brilliant playing which has ample doses of lyricism. Without question, the most emotionally gripping work is the Concerto Grosso, which sounds like a post-modern take on Bach's or Vivaldi's music. The sound quality is splendid for an early Deutsche Grammophon recording.

classical, or a creature of its own?.......2002-07-31

This was my first exposure to Schnittke, and it (the Concerto Grosso on this album) was hypnotizing. It sounded less like most classical pieces I'd been familiar with, and more like an hour-long trip of experimental mood textures built up upon each other, then destroyed dramatically, others thrust down your throat before you had a chance to take a breath (this is one of those few experiences when I sometimes had to remember to breath .. Dylan Thomas being another). It sometimes has the mood impression of a piece of 'trance' music, is sometimes wistful, sometimes angry, other times whimsical .. it is very hard to turn off after the first 10-15 minutes. The references to other classical pieces are also fascinating .. it is amazing how different familiar passages can sound couched in such different surroundings. This is a fantastic recording, and one which has changed my expectations for new music (classical or otherwise) forever.

I REQUIRE YOU TO LOVE THE MUSIC OF SCHNITTKE AS MUCH AS I DO.......2001-07-15

If you're acquainted with Schnittke's string quartets or viola concerto, you might know what to expect from a disc like this one. When he was at his best - as he was, I feel, with the quartets and that concerto - he was darned close.

And so he is, here - darned near perfect, for all of 75 minutes' worth of music. The Concerto Grosso No. 1 is performed persuasively and enjoyably, which must be quite difficult with a piece of music this eclectic both in style and emotional tenor. It veers - sometimes comically, sometimes almost frighteningly - between 18th-century decorousness, bawdy cabaret and abject expressionism. (Listening to it right now, I just spotted a quotation from Tchaikovsky hidden amidst a swarm of angry, screeching violins.) The switches that performer Yuri Smirnov is here required to make between the harpsichord and prepared piano are especially powerful - chilling, even.

"Quasi una Sonata," an earlier work - appearing here in the composer's arrangement for violinist with chamber orchestra - is a little less shocking, but no less passionate and rigorous, and thoroughly compelling in its own right. The contrasts between thorny expressionism and tonal melody/harmony are perfectly calculated, very exciting.

"Moz-Art a la Haydn," a "game with music," is a hoot. As the name might imply, basically tosses Mozart into the blender and uses the musical fragments for a series of wonderfully silly musical "games" for conductor and performers. It's been said that few of the great composers are ever genuinely funny; Schnittke demonstrates here that he can make you think and laugh at once. (Mozart, of course, is the most notable exception to that rule, and one imagines he would only enjoy the perverse liberties Schnittke has taken with his music.)

I admit that the last piece on this disc, "A Paganini," is the least rewarding for me; it certainly loses something not to be able to actually see the performer wrestling with the, yes, Paganini-esque virtuosity the piece requires. However, it's still a very interesting listen, and the fact that the composer was able to wring 13 genuinely exciting minutes out of what is basically a series of cadenzas for solo violin is certainly a feat in itself.

So, yeah. Buy this CD, all lovers of new music. Great pieces, great performances. If you don't already know Schnittke, and you're up for someth