Mexican composer Arturo FUENTES growing importance is being illustrated by the interest of leading European ensembles in his music – here: PHACE (Vienna, Austria) and ensemble recherche (Freiburg, Germany). His further development has to be observed. Liner notes in German, English, and French. Neos presents a collection of music from Mexican composer Arturo Fuentes, performed by the PHACE Ensemble and Ensemble Recherche. "I ran into Arturo Fuentes for the first time at IRCAM, in the late '90s. He talked to me for a long time about his passion for logic and analytic philosophy, quoting Quine and Wittgenstein. His music, which I discovered later on, did surprisingly contradict the expectations that were arisen from those discussions.
After achieving independence from Spain, Argentina developed its own models for concert- and opera-going, even though these continued in many respects to reflect European traditions. Musical legends emerged during this time: Astor Piazzolla, the founder of the Tango Nuevo, Mauricio Kagel, Carlos Gardel and Alberto Ginastera, the man considered for decades to be the country's most significant composer of classical music. Three of the works recorded on this CD fall into Ginastera's final ‘Neo-Expressionist’ period: the Concerto per corde Op.33 (1965), cast in a classical, four-movement form; the Estudios sinfonicos Op.35 (1967), which represent Ginastera at his most adventurous with the avant-garde style; and the Glosses sobra temes de Pau Casals Op.48 (1976/77), in which Ginastera experiments by taking traditional themes by the great Spanish cellist Pablo Casals and holding them up to an avant-garde mirror.
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!
Arturo Tamayo's recordings of the works of Iannis Xenakis on the Timpani label are among the finest available, for they are finely interpreted, expertly performed, and brilliantly recorded. Xenakis' music is always different from piece to piece, because the composer never wanted to repeat himself, and his works always present unique challenges, depending on the nature of his evolving techniques and changing expressions. Whether it is in the stark text and extreme vocalizations of Aïs (1980), or the densely dissonant aggregations of Tracées (1987), Empreintes (1975), Noomena (1974), and Roáï (1991), Tamayo keeps the energy levels high and shapes the sound to have a sharp edge and forceful impact.
One of the most acclaimed musicians of his era, Toscanini was a conductor of the "old school" - aristocratic, perfectionistic and something of an autocrat on the podium. After a brief flurry of interest in Fascism in the 1910s, he rapidly became disillusioned with the movement and indeed became a personal rival of Mussolini, repeatedly antagonising him through acts of artistic defiance such as refusals to open concerts with the Fascist anthem Giovinezza.
Eventually he fled Italy for the United States, becoming the first conductor of the newly-formed NBC Symphony Orchestra, with whom he pioneered radio broadcasts and recordings that made him a household name in America until his retirement at the age of 87. He gave the premiere performances of several major works, including Barber's Adagio for Strings and the American premiere of Shostakovich's Seventh Symphony.