Okay, I may continue listening to this kind of music (Gosse flat) like I exchange a leader and a player and I feel it and think and listen and it is not like that like that or just compare particularly favorite music with the best thing in classical music.
And this kind of music may be immortal one like classical music forever in future in what time of times.
That, as for the slightly disappointing one, ability for one's hearing is not enough; because seem to be Irish more, declare a word to say how, or do not know it at all. Furthermore, this domestic board has a text card, but I am sorry that I cannot translate it at all because it is the original. Because do not hear it to issue words as the enumeration of words, an outbreak sound of words like Cocteau Twins (because declare the meaning of original words); all the more.
However, it is a pleasure it unfolds, and what kind of work this group will leave in future. When it resembles Bjork of the affected same native place, there is a catchphrase in CD commentary and Towerrecord, but this is because I do not think so to be it.
1. Cherry – Sakura (Aki Takase) 9:20 2. A Very Long Letter (Aki Takase) 5:44 3. Let’s Cool One (Thelonious Monk) 5:41 4. To A. P. Kern (David Murray) 5:55 5. Stressology (David Murray) 6:27 6. Nobuko (Aki Takase) 6:18 7. Blues for David (Aki Takase) 4:52 8. A Long March to Freedom (David Murray) 6:28
Recorded April 30, 2016, at Studio SRF, Zürich, by Michael Brändli. Mixed and mastered at Hard Studios Winterthur by Michael Brändli. Liner notes: Bill Shoemaker. Photos: Francesca Pfeffer. Cover art and graphic design: Jonas Schoder. Executive production: Florian Keller. Produced and copyright by Intakt Records, Patrik Landolt.
The first piece from information of magazine レコード芸術
It is said that recording of violinconcert of berg wins through up to the last recording in later years of kempe.
This famous tune which I think not to be able to avoid myself for the end of the life by all means
That sickly kempe chose you daringly.
A tempo lays it with two movements hearing rumblingly late most so far; advance,
Splendid,
It is sensual, and violin of Peinemann is attracted, too.
Another one was coupled with "sung poetry" of Rihm which was recommended at a contemporary music corner of Towerrecord of Shibuya.
It is emotional than I thought, and the performance of Muttter is intense, and the conduct of Levine is by no means inferior to the color richness in comparison with the album of Ozawa and Boulez.
In addition, I want to listen to the music of Rihm many times.
There was a Toru Takemitsu Composition Award final concert this year as well, and last year I went to Tokyo to listen to live performances and listened to it again on the radio, but I couldn't find much appeal in this blog. I had stopped my impression.
The judge for this year is Holliger, but his work Scardanelli-Zyklus will be premiered in Japan on May 25th.
This time I will buy a CD, listen to it, and put up with it.
However, in this year, do you indulge in pulling out Hölderlin's poetry collection and watching nature?
Coupled with Scelsi's microtonal music, the ghosts of Berio and Boulez both wander in eternal time.
At first after being introduced music called "Anahit" in NHKFM with an opportunity,
A growl to utter by the change of the harmonic overtone ingredient of one sound and frequency to approach it echoed in brain, and it has been with a captive.
Probably this is to be because Scelsi affected the spectrum school taking the methodology of the composition by catching a sound phenomenon as a sound wave, and a spectrum analyzing the harmonic overtone, and composing a harmonic overtone theoretically, and to just know modern electronica directly.
Naturally it can say that I who listened to electronica for these several years became a captive.
I purchase two or three pieces and listened, but think that a harmonic overtone is richer than which electronica work existing only in all acoustic.
At the same time to hope that I cannot do it by the performance of the person in electronica work
Because there was a cowork by the same author suspicious person, his work is connected to many products, and there is many it and I want to check extract of simple contemporary music.
I will nominate the thing which I was able to purchase as follows in future.
GIACINTO SCELSI (1905-1988) Yamaon (1954-58) 12:02 für Bass-Stimme und 5 Instrumentalisten 1 1. Satz 3:17 2 2. Satz 5:00 3 3. Satz 3:45 4 Anahit (1965) 13:44 lyrisches Poem über den Namen der Venus für Violine solo und 18 Instrumente I presagi (1958) 13:30 für 10 Instrumentalisten 5 1. Satz 3:41 6 2. Satz 4:05 7 3. Satz 5:44 Roland Hermann baritone Annette Bik violin Pierre-Stephane Meugé saxophone Klangforum Wien • Hans Zender conductor Tre pezzi (1956) 9:26 für Sopransaxophon 8 1. Satz 2:43 9 2. Satz 4:07 10 3. Satz 2:36 11 Okanagon (1968) 8:33 für Harfe, Tam-Tam und Kontrabass TT: 57:19
Pranam II (1973) For Ensemble To The Master (1974) For Cello And Piano Wo Ma (1974) For Bass Voice Rotativa (1930) For Two Pianos And Percussion Ensemble Trio (1950 ca.) For Vibraphone, Marimba And Percussion Preghiera Per Un'Ombra (1954) For Clarinet In B Flat Chukrum (1963) For String Orchestra
Tracks 1 and 6 recorded at Conservatorio di Musica di S. Cecilia - Roma, 29.12.2005 Track 2 recorded at Auditorium del Goethe-Institut Roma, 28.11.2005 Tracks 3 and 4 recorded at Auditorium del Goethe-Institut Roma, 13.11.2005 Track 4 recorded at Sala ExMacelli, Montepulciano, 3.8.2007 Track 7 recorded at Auditorium Parco della Musica, 5.2.2006
Housed in jewel case with 28 page booklet containing Italian, English and French liner notes. Total time: 75:54
Anagamin Celui qui choisit de revenir ou pas, Pranam I En souvenir de la perte tragique de Jani et Sia Christou, String Quartet Nr. 4, Quattro pezzi su una nota sola, Okanagon doit être considéré comme un rite et, si l'on veut, comme le battement de coeur de la Terre, String Quartet Nr. 2
Anagamin Celui qui choisit de revenir ou pas for 12 Strings (1965 (SFB 1990), Ensemble Oriol Berlin, Ltg. Sebastian Gottschick)
Pranam I En souvenir de la perte tragique de Jani et Sia Christou for voice, 12 instrumentalists and tape, 1972 Fondazione Isabella Scelsi, Rom 1972) Michiko Hirayama, Stimme, Ad Hoc Ensemble, Ltg. Vieri Tosatti
String Quartet Nr. 4 1964 (RB 1994) Pellegrini-Quartett: Antonio Pellegrini, 1. Violine; Thomas Hofer, 2. Violine; Charlotte Geselbracht, Viola; Helmut Menzler, Violoncello
Quattro pezzi su una nota sola for chamber orchestra, 1959 (Les Disques Solstice 1982) Ensemble 2e2m, Ltg. Luca Pfaff
Okanagon doit être considéré comme un rite et, si l'on veut, comme le battement de coeur de la Terre for harp, Tam Tam and bass (1968 (Les Disques Solstice 1982) Ensemble 2e2m, Ltg. Luca Pfaff)
String Quartet Nr. 2 1961 (WDR 1979) Berner Streichquartett: Alexander van Wijnkoop, 1. Violine; Eva Zurbrügg, 2. Violine; Henrik Crafoord, Viola; Walter Grimmer, Violoncello
Scelsi collection vol.7
Autore: SCELSI Giacinto - (1905-1988) - Pitelli - La Spezia - ITALIA
1-7. Suite No. 10 "Ka" (1954) Quattro Illustrazioni (1953) 8. I. Shesha-Shayi-Vishnù (3:46) 9. II. Varaha-Avatara (3:46) 10. III. Rama-Avatara (con eleganza e seduzione) (2:36) 11. IV. Krishna-Avatara (calmo, radioso) (4:06) Sonate No.3 (1939) 12. I. Lento, rubato (8:41) 13. II. Con dolcezza (5:11) 14. III. (6:06) Cinque Incantesimi (1953) 15. I. Deciso imperioso (2:23) 16. II. Presto (wild and strident) (1:37) 17. III. Agitato (1:40) 18. IV. Lento (Misterioso, soprannaturale) (3:33) 19. V. (wild and strident) (2:10) 20. Un Adieu (1978/88?) (6:58)
Canti del Capricorno
Venti canti per voce femminile o voce con strumento(i)
Michiko Hirayama inspired Giacinto Scelsi to write his twenty-part cycle "Canti del Capricorno" between 1962 and 1972. To this day the Japanese singer (b. 1923) is a unique performer of this spiritual yet energy-filled work for solo voice, with instrumental accompaniment for certain songs: Scelsi’s notes in his own hand in the score; that is her treasure, when she comes to Ulm in May 2006 to give a concert in the series neue musik im stadthaus. Michiko Hirayama is a vocal power station; she is once again very young. On this WERGO CD, it has been recorded: a document of lived, immediate music. This is to be her legacy, she says openly.