Donaueschinger Musiktage 2010

JAMES DILLON (b.1950): String Quartet No. 6 (Arditti Quartet, Quatuor Diotima, JACK Quartet), PHILIPPE MANOURY (b.1952): Stringendo (Arditti Quartet), BRIAN FERNEYHOUGH (b.1943): String Quartet No. 6 (Arditti Quartet), ONDREJ ADÁMEK (b.1979): Lo que no' contamo' (Quatuor Diotima), ALBERTO POSADAS (b.1967): Del reflejo de la sombra for Bass Clarinet and String Quartet (Alain Billard [bass clarinet], Quatuor Diotima), AARON CASSIDY (b.1976): Second String Quartet (JACK Quartet), MARCO STROPPA (b.1959): Let me sing into your ear for Amplified Basset Horn and Chamber Orchestra (Micheles Marelli [basset horn], Radio Kamer Filharmonie, Hilversum; Peter Eötvös), VINKO GLOBOKAR (b.1934): Radiographie d'un roman for Mixed Chorus (with 7 Soloists), Accordion, Percussion, 30 Instrumentalists and Live Electronics (Luka Juhart [accordion], Jean-Pierre Drouet [percussion], David Moss [voice], Experimental Studio der SWR, SWR Vokalensemble Stuttgart, South-West Radio Symphony Orchestra Baden-Baden und Freiburg; Rupert Huber, SIMON STEEN-ANDERSEN (b.1976): Double up for Sampler and Small Orchestra (Radio Kamer Filharmonie, Hilversum; Peter Eötvös), IVAN WYSCHNEGRADSKY (1893-1979): Arc-en-ciel, Op. 37 for 6 Grand Pianos in 12-tone tuning, Arc-en-ciel II, Op. 52a for 6 Grand Pianos in 12-tone tuning, GEORG FRIEDRICH HAAS (b.1953): limited applications - concerto for 6 Pianos in 12-tone tuning and Orchestra (Pi-hsien Chen, Christoph Grund, Florian Hoelscher, Akiko Okabe, Sven Thomas Kiebler, Julia Vogelsänger [pianos]; South-West RSO Baden-Baden und Freiburg; Sylvain Cambreling [conductor].

Catalogue Number: 01N092

Label: Neos

Reference: 11114-17

Format: CD

Price: $79.98

No Longer Available

Description: The quartet works in the 2010 festival reflect the various ways in which contemporary composers continue to expand the vocabulary of the venerable, intimate, precisely controlled and rigorously discursive ensemble. Although not explained in the booklet, we appear to have three separate performances given simultaneously by different ensembles in different venues, of Dillon's Sixth Quartet. Based on interacting blocks of widely divergent material, the piece varies considerably from one version to another, while maintaining a clear structure orbiting around a central microtonal exploration of a very limited pitch-range. Manoury also constructs a form out of initially apparently disparate shards of sound, a gradual progression toward a scurrying, accelerating finale. Ferneyhough's Sixth is, of course, complex and intricate, an examination of the interplay of conflicting material in overlapping time-frames. The Adámek vividly evokes flamenco, using many ingenious extended techniques - very modern and abstract, a cubist depiction of the musical tradition, but quiet unmistakable. Posadas' piece adds a bass clarinet, integrated into the ensemble for expanded sonorous effect in a piece all about contrasting sonorities, making ample use of extended playing techniques. Cassidy evokes the 'historical precedent' for experiment in the quartet genre in a work that is very much 'about' the mechanics of the ensemble, producing every kind of sonic gesture and texture. Stroppa uses electronics to amplify the solo basset horn, both for spatial effects and to allow normally subliminal instrumental sounds to assume the status of solo material. The six contrasting movements form a suite of character pieces, and the composer's idiom, though as modernistic as one might expect, is by no means unapproachable, with something of the sense of exhilarating interplay of soloist and ensemble of the traditional concerto, and evoking similar vivid, ambiguous imagery to the W.B. Yeats poem from which the work takes its title. Globokar's work presents the elements of an unspecified dramatic narrative, building blocks of vocalizations and instrumental gestures from which 'should allow all listeners to invent their own novel'. The Grand Old Man of microtonal music is represented by music for multiple pianos in microtonal (quarter- and sixth-tone) tunings. The strange, disorienting hyper-chromatic language produces a weirdly beautiful kind of impressionism. Haas applies the 1/12 tone tuning to a concertante context, in which shifts between the overtone scale approximated by the microtonal inflections of the pianos' tuning (producing more perfect intonation than is possible in the equal temperament system) and strange, impossibly rich sonorous masses of texture, provide a glimpse into a fascinating and compelling alien landscape. Steen-Andersen's piece pits a plethora of sampled sounds against an orchestral commentary, in a kind of dramatic virtual narrative. 4 CDs. Neos SACD hybrid

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