Deep Listening Band - Tosca Salad (1995)
EAC RIP | APE + CUE + LOG | COVER+BOOK | RAR FILES (3% recovery) | 197 Mb
Classical | Deep Listening
EAC RIP | APE + CUE + LOG | COVER+BOOK | RAR FILES (3% recovery) | 197 Mb
Classical | Deep Listening
“ | In celebration of the 20th anniversary of Nigel Kennedy's landmark recording of Vivaldi's Four Seasons, EMI Classics presents the 20th Anniversary Luxury Edition. The set includes the original recording, award-winning film, images not previously issued, memorabilia, and a specially-written account of unfolding events. Originally recorded in November 1986 in the Church of St. Johnat- Hackney, London, it was a recording that would achieve unprecedented public and media attention and change the course of music history. It wasn't until March 1989, after the slow movements had been recorded, that the master was completed. Now with this 20 Year Anniversary Luxury Edition you can own it all. amazon.com | ” |
“ | Musical America has announced their 2009 award recipients in the latest issue, in which they write: "Few composers have written as skillfully for orchestra as Christopher Rouse (b. 1949). His self-described "off-the-wall inventiveness" has thrilled audiences worldwide, perhaps most especially in the award-winning First Symphony and series of concertos for trombone (Pulitzer), cello (Grammys), violin, percussion, guitar (Grammy), flute, piano, clarinet, and oboe..." | ” |
“ | David Tudor, with characteristic perspicacity, noticed the influence of children (of being a parent) in Christian Wolff's music-making. "While working with David Tudor on Burdocks, he said that he could see the results of having small kids around - my music had loosened up." Becoming a parent, bringing a human into the world, makes one more aware of ideological constraints and pressures. A domestic culture vies with a prevailing dominant culture which is predatory, aggressive, and individualistic, a day-to-day confrontation of irreconcilable attitudes . . . Music is an integral part of the fabric of our social existence. In the early Seventies raising a family coincided with a political involvement, expressed unequivocally in Wolff's music, moving (ideologically) from what he characterized as democratic libertarianism (anarchism) toward democratic socialism, which in one way or another was supported and promoted by the use of political songs and texts . . . Wolff criticized his own (earlier) music for being esoteric, too "introverted"; it did not address social reality. Above all, he tried in various ways to make his new, political music more accessible. "But my notion is that music can function better socially if it is more clearly identified with what most people recognize as music, which is not a question of liking or disliking, but of social identity." . . . Hanns Eisler discussed the subject with characteristic candor and insight. One of his favorite quotes was from The Damnation of Music by the philosopher Me-Ti, 600 years BC: "If the nobles of the country really have the welfare of the people at heart, they should prevent and forbid music wherever it makes an appearance. For the fact that the people practise music has four disadvantages. The hungry are not fed, the cold are not clothed, the homeless are not sheltered and the desperate find no consolation." - John Tilbury, liner notes | ” |
“ | Voices and Piano, written for Nicolas Hodges, is an extensive cycle of pieces, each for a single recorded voice, mostly of a well-known celebrity, and piano. The cycle is still in progress and should eventually include about 80 pieces/voices (around 4 hours of music). The work is always meant to occur as a selection from the whole. At present I like to write works where the whole should not be presented at once. The whole should remain the whole, and what we hear is just a part of it. I like to think about Voices and Piano as my song-cycle, though nobody is singing in it: the voices are all spoken statements from speeches, interviews or readings. And the piano is not really accompanying the voices: the relation of the two is more a competition or comparison. Speech and music is compared. We can also say: reality and perception. Reality/speech is continuous, perception/music is a grid which tries to approach the first. Actually the piano part is the temporal and spectral scan of the respective voice, something like a coarse gridded photograph. Actually the piano part is the analysis of the voice. Music analyses reality. - Peter Ablinger, liner notes | ” |