This is an excellent collection of Aaron Copland’s early orchestral works, written when the composer was in his twenties and mid-thirties. These pieces have not achieved the notoriety of Mr. Copland’s later “populist” compositions and contain more modernist devices. Some of these feature jazz elements (such as the Piano Concerto, Music for the Theater and the Dance Symphony, which was drawn from materials composed for the “Grogh” ballet). Despite the complexity of these selections, the music is both exhilarating and interesting, albeit challenging. Repeat listenings are required if one wishes to fully appreciate these compositions…
Otto Ketting is one of the leading musical figures in the Netherlands. He is good at composing but he works as well as a teacher, conductor or musicologyst. Here you will find some of his early orchestral works written in his personal language. Enjoy!!
On the four previous installments in Timpani's series of the orchestral works of Iannis Xenakis, Arturo Tamayo and the Orchestre Philharmonique du Luxembourg have presented highly varied and volatile works from different periods of the composer's career and have provided an excellent overview of his output. This fifth volume focuses on the early orchestral works, which brought architect and mathematician Xenakis world renown as a cutting-edge composer and put him in direct opposition to the serial establishment.
The fourth volume of Timpani's series of orchestral works by Iannis Xenakis presents four works from three distinct periods, though not in chronological order. Erikhthon for piano and orchestra (1974) is one of the "arborescent" or branch-like compositions from Xenakis' middle phase. Expanding and contracting through criss-crossing glissandi and bending clusters, the extremely loud and aggressive orchestra overwhelms the impossibly dense and struggling piano part; in this role reversal, Erikhthon may be regarded as the absolute antithesis of the conventional piano concerto. Ata (1987) is a late work, contrapuntal in nature but with the difference that the polyphonic lines are all tightly bunched in clusters; it also features a sly reference to Stravinsky's Le Sacre du printemps, which is unexpected and hilarious.
These four compositions are among the best and most forceful works of Xenakis. This recording of Jonchaies easily beats the version on Col Legno. I believe Shaar, Lichens, and Antikhthon are recorded here for the first time, and they are outstanding works, brilliantly performed and recorded. For those unfamiliar with the later large works of Xenakis, the CD is a must have!