Pierre Boulez Giacinto Scelsi Earle Brown - New Music For String Quartet
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Filename: pierre-boulez-giacinto-scelsi-earle-brown-new-music-for.zip- MP3 size: 34.3 mb
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Table of Contents
Tracks
Track | Duration | Preview |
---|---|---|
Ib | ||
Livre Pour Quatuor | (21:30) | |
Ia | ||
V | ||
II | ||
String Quartet | ||
Quartetto D'Archi No.4 |
Video
Pierre Boulez, Livre pour quatuor, Parts I a and I b, Quatuor Parrenin
Pierre Boulez, Livre pour quatuor, Part II, Quatuor Parrenin
Pierre Boulez, Livre pour quatuor, Part V, Das Hamann Quartett
Giacinto Scelsi: Quartetto per archi No.4 (1964)
earle brown STRING QUARTET
Images
Catalog Numbers
MS/5009Labels
Mainstream RecordsListen online
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Formats
- Vinyl
- LP
- Album
- Promo
Credits
Role | Credit |
---|---|
Composed By | Earle Brown (tracks: B2), Giacinto Scelsi (tracks: B1), Pierre Boulez (tracks: A1 to A4) |
Design | Ruby Mazur's Art Department |
Engineer | Dr. Speck, Elliot Scheiner |
Liner Notes | Carman Moore, Denis Vaughn, Earle Brown |
Mastered By | Gene Thompson |
Notes
- "Promotional - not for sale" on labels.
- Gatefold
About Pierre Boulez Giacinto Scelsi Earle Brown
French composer, conductor, writer and organiser of institutions (* 26 March 1925 in Montbrison, France; 05 January 2016 in Baden-Baden, Germany).
.
He studied with Messiaen at the Paris Conservatoire (1942-1945) and privately with Andrée Vaurabourg and René Leibowitz, inheriting Messiaen's concern with rhythm, non-developing forms and extra-European music along with the Schönberg tradition of Leibowitz. The clash of the two influences lies behind such intense, disruptive works as his first two piano sonatas (1946, 1948) and Livre pour quatuor for string quartet (1949). The violence of his early music also suited that of René Char's poetry in the cantatas Le visage nuptial (1946) and Le soleil des eaux (1948), though through this highly charged style he was working towards an objective serial control of rhythm, loudness and tone colour that was achieved in the Structures for two pianos (1952). At this time he came to know Stockhausen, with whom he became a leader of the European avantgarde, teaching at Darmstadt (1955-67) and elsewhere, and creating one of the key postwar works in his Le marteau sans maître (1954). Once more to poems by Char, the work is for contralto with alto flute, viola, guitar and percussion: a typical ensemble of middle-range instruments with an emphasis on struck and plucked sounds. The filtering of Boulez's earlier manner through his 'tonal serialism' produces a work of feverish speed, unrest and elegance.
In the mid-1950s Boulez extended his activities to conducting. By the mid-1960s he was appearing widely as a conductor, becoming chief conductor of the BBC Symphony Orchestra (1971-1974) and the New York Philharmonic Orchestra (1971-1978). Meanwhile his creative output declined. Under the influence of Mallarmé he had embarked on three big aleatory works after Le marteau, but of these the Third Piano Sonata (1957) remains a fragment and Pli selon pli for soprano and orchestra (1962) has been repeatedly revised; only a second book of Structures for two pianos (1961) has been definitively finished. Other works, notably Eclat/Multiples for tuned percussion ensemble and orchestra, also remain in progress, as if the openendedness of Boulez's proliferating musical world had committed him to incompleteness. Only the severe memorial Rituel for orchestra (1975) has escaped that fate.
Since the mid-1970s Boulez has concentrated on his work as director of the Institut de Recherche et Coordination Acoustique/Musique, a computer studio in Paris where his main work has been "Répons" for orchestra and digital equipment.
Real Name
- Pierre Louis Joseph Boulez
Name Vars
- Boulez
- P. Boulez
- П. Булез
- Пьер Булез
- Пьерр Булез
- Пјер Булез
- Ô¨üëûÖìüº
- Öìüº
Comments
reply to herma57: yes, but I actually prefer the original quartet version. i would love to have a good "hi-fi" recording of the entire work. what I have posted actually comes fro two old lps . . .
C'est franchement atroce :-(
Atroce, horrible, bizarre ? Oscar Wilde écrivait : "La beauté est dans les yeux de celui qui regarde." Mais, n"en est-il pas de même pour nos oreilles quand nous écoutons ?
Ca ressemble à un film d'horreur en musique. Oui, mais quel horreur !
And who are the paintings from?
Awesome.
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