Fragmente 2

Editorial Reviews
Album Description
The greatest hits collection to rival all greatest hits collections! Contains all the Mesh club-hits as well as remixes, b-sides, and rarities!

Album Description

Luigi Nono's only score for string quartet, Fragmente-Stille, An Diotima already expresses at the very beginning of the 1980s, with its ample phrases made up of fragments mingled with long-held notes and drawn-our silences, that "tragedy of listening" that haunts the composer's last works -- a world both crepuscular and ethereal, shot through with shadows and fleeting sensations, and a meditation on the "eternal silent brightness" of the poet Friedrich Hölderlin.

Customer Reviews:

tragedia d'ascolto.......2006-05-10

all of Nono's late creative phase can be explained by his disgust his sense that the vigours of modernity have eclipsed past out existence where the marketplace trashes/pilferes anything of value furthering the cause of meaning,or progression,so we then have the reduction of the aesthetic to the least common denominator as the minimliast cadre have revealed in countless un=expressions.This furthered within the popular avant-garde of digitalizations schemes, homogenizations of expression. If you don't see Nono's late oeuvre within this context well then he is simply another uninteresting elitist intellectual with Leftist affinities. But this quartet if it has any substance must comment and have some conceptual dialogue with what surrounds it, its "environment" as the marketing departments refer to. The late Nono phase actually began in the mid-Seventies with a "Nocturne" to Maurizio Pollini,a sketchlike work that finally concretized into the "sofferte onde serene", "serene waves endured"a gorgeous work, with beautiful tape metamorphosis of Pollini pre-recorded like a "mirror"a mist of the past for piano and magnetic tape. There you can find, if you a looking for it, the creative DNA for all that came after culminating in the grandiose multi-dimensional "Prometeo".
The Arditti is the most profound reading of this work as all Nono, and it is curious how this quartet really refuses to enter the global quartet repertoire.It has a resistance to popularizing itself, no commercial potential.Standing Quartets would rather entertain the predictable symbolic order with sports-like marathons of complete "Elliott Carter Evenings", ad nauseum. Adorno said this in the Fifties at his lectures at Darmstadt that the avant-garde had a tendency for the sports-like substance,of spectacle,surface,one-dimensions of all technique and no substance advanced; rather than (well for Adorno)pursuing the canons of modernity, commitment to materials and the musical subject, meaning realized,structural trajectories advanced, genres reinvented.
Nono's "Quartet" here still maintains these features with a "pulverized" like state, that the voice of modernity has been pilfered, made homeless, and placed in some exile. It is rather heroic of Nono to allow his work to function within this capacity, well he was a one-time Resistance fighter against the Nazis in Italy. But as other reviewers observe quite correctly, with Arditti you get the "irrational" at work, the incomplete, the existential, a leftover from the "buzz" of the Fifties, that really Nono was only marginally engaged. The result is a tension, and that is what will give this work its longevity, as long as it remains unresolved.

The violin antiphonal duet herein is also wonderful to experience,well wonderful like root-canal,something that will give benefits as some future point in your existence; with the Arditti cadre they comprehend the darknesses here un-dramatically. Nono though of this late phase as music with a sketchlike substnace, incomplete, and frequently one work "franchised" into the next, as all the solos and duets that found its pathways to or from "Prometeo" as this work. This is where this music should be. Gidon Kremer's reading, although he worked directly with Nono is too metropolitan, to conservative in approach,goal-bound to finding a meaning,even if it is wrong-headed not willing to take any risks in his music making. His humanity as well is questionable where(in a story from a friend) he refused to speak to a fellow-violinist who was unfortunatly driving him in his cab to Kremer's hotel.Alberman and Arditti make you feel and sense the distortions, the mis-shapened places of the work, with high harmonics, pencil-thin timbres, as the quartet.

A turning point........2005-10-20

A turning point.

Luigi Nono's only quartet "Fragmente-Stille, An Diotima" is a turning point in the italian composer's career, that changed deeply after this notes, right in the limit of what we can hear, of what we can feel, of what we can think about.

Luigi Nono's thinking in the last decade of his life was very concerned about the silence, the perception of the music and the deep dialogue between composer, performers and the listeners as a central part of the musical fact. "Ascoltare", "to listen" was the key of Nono's musical philosophy in the eighties and Fragmente-Stille is the beginning of this period. Nono asks for an active listener who can makes interpretations of the music and who can make sense of the silences, a listener that take part in the construction of the meanings, a very dialogical way of understanding art and culture that create a very open works. It's not the concept of "Opera aperta", by Umberto Eco, but it's truth this works have meanings that can be very different in every listener's mind, specially if the attention and listening is "ears-open".

From the point of view of the technique, this Fragmente-Stille marks a new level of complexity in quite all the parameters of the music playing. The dynamics descends to unknown possibilities, the tonality goes into microtonality, the union of the work reach the "impossible", the silence is present explicit and implicit all the time in the work, the coordination between the players is exceptionally complex... All the new ways Fragmente-Stille shows will be developed in the next years in many of Nono's late works, like Prometeo, Hay que caminar, soñando, No hay caminos... even with the systematic use of computers for the sound's treatment. Anyway, we're not talking about a rupture in his career or a breaking point in western music, just a development of many of his ideas realized before, in works from the `60s and the `70s much more concerned about political questions. In those works many of the techniques here listened were present but in a different way, what we have here is a turning point, but not a new road. The own Nono in many of his texts talks about the very important necessity of listening the masters from the past, and the necessity of continuing a way which come from the very old tradition, in his case even from the medieval venetian masses, that have ideas really present in the own Prometeo, like the multifocused attention to diverse origin of music, another of Nono's central thinking, trying to create new ways of listening music apart from a very conservative direction orchestra to public.

"Hay que caminar, soñando" is Nono's last work, very close in style and conception to Fragmente-Stille, the work we saw opens a period. The violins playing and quite not audible in some moments and the work ask for an exemplar recording, that it's not exactly the case of this Montaigne recording, and I'm talking abaout technical aspects.

The performing is outstanding; I have Fragmente-Stille by the LaSalle String Quartet (DG) and I've listening the work live, and I can say it's quite impossible to make it better than the Arditti, as they control absolutely the technical playing and the presence of the notes and the silences. LaSalle's version is more pale and plane, not so modern like this; I know some people who think that this one by the Arditti it's too much modern, like a kind of Nono seen by Lachenmann, but I really enjoy it much more than any other version I know, over all if you listen it with no noises in the house, with a good Hi-Fi system and on the night if it could be.

Arditti and Alberman gave the world premiere of Hay que caminar, soñando, under Nono's supervision, and you can feel it in the very precise and correct understanding of the work. There is another very good version, played by Kremer and Grindenko (DG), but I really prefer this one.

The recording could be better, it's not the strong point of this CD, but it's enough to understand the work and to enjoy it, specially with no other noises when you go into this very personal and deep ways of the better human thinking.

the pinnacle of 20th century chamber works........2005-08-19

agonizing silences, explosive gestures, phantasmagoric sonic qualities ... the abstract reconciliation of tragedy and triumph, conveyed in the arch-modernistic language of one of the 20th century's greatest avant-garde composers. Nono's only string quartet is a masterpiece.

beyond heroism and tragedy, a deeper level of subversion.......2004-07-09

Nono's only string quartet, "Fragments and Silence," ushered in Nono's "late period," when he moved toward a more subdued form of subversion, forcing listeners to listen intently, taking nothing for granted. As performed by the Arditti Quartet, the piece is startling -- sounds you have never heard before. Fragmented sounds regularly negated by silence, negated in turn by new sounds, reforming, turning, creating something new out of nothing, out of chaos...

In turning away from more overt politics, Nono can be seen as retreating, but he saw the works of his late period as more deeply radical, challenging the basic perceptions and assumptions of the commodified society. He effected a rapprochement with Boulez -- I wonder to what extent he realized that his '80s work moves toward the aesthetic position of his Darmstadt collaborators of the '50s who he had previously denounced for their apolitical stance?

"Hay que caminar" for two violins is also available on the recently re-released DG 20/21 Echo disc, performed by Gidon Kremer and Tatiana Gridenko. I prefer this original recording -- as I said in my review of the DG disc: "The Arditti/Alberman version has more silence, more extreme dynamics, and conveys a sense of being utterly, existentially lost. You might say it emphasizes that there is "no path," while [the Kremer/Gridenko version] emphasizes that nonetheless "we must walk."

I previously reviewed the original Montaigne release of this disc (7/21/01, and again 6/10/02), and it has exactly the same content -- all that has changed is that this is a cardboard "eco-friendly" package instead of a plastic jewel box.

Nono's quartet--music from the shadows.......2003-11-19

Luigi Nono's string quartet, 'Fragment-Stille, an Diotima', has gained something of a reputation in the 20-odd years since it was first performed by the LaSalle Quartet. One of the most extraordinary works in the history of the string quartet, it consists of over 50 short fragments (mostly at very low dynamic levels) separated by silences. Unified only by the occasional repetition of short motives, and by the constant use of a destabilising, unearthly tritone-heavy harmony, this work gives off the aura of pages from a diary in which the composer had inscribed his most intimate thoughts. It is a very difficult work to bring off--I have attended performances where it made no sense at all--but in this recently reissued recording the Arditti Quartet produce an exceptional performance. The key to this work is (in my opinion) managing to make the many silences increase the musical tension rather than reduce it, and this performance has no rival in doing so.

The other, shorter, work on the disc, "Hay que caminar" sognando, is a rather less successful here. Based on the same harmonic structure as the quartet, but scored only for two violins, it is even harder to bring off, in part due to the lack of any bass instrument to anchor the harmony. In addition, Arditti and Alberman do not match the rival--much faster and more nervous-- recording from Kremer and Grindenko in intensity.

Tracks:

Chasing Bartok - Wolfgang 'Humbucker' Frisch
Riddim Drum & Bass Mix - Dr. Nachtstrom
Blues - Dr. Nachtstrom
Addio Del Passato - Tracy Young
Sirenes 2 Step Mix - Dr. Nachtstrom
Via Verde - Darcosan
People (Get It Together) - Miguel Kertsman
Meditation - Dr. Nachtstrom
Ritual Rhythm - Jovino Santos Neto
Machines - Dr. Nachtstrom
Espirito: Total Chill-Out, Brain Rejuvenator - Miguel Kertsman
The Mermaid - Miguel Kertsman
I Would Kiss You - Michael Habla
New World - Michael Habla
Bartalk Mix - Dan The Automator

Customer Reviews:

Lucid dreaming? .......2007-02-13

Oh, please! I guess it depends on your idea of dreaming.

If you enjoy dozing off with the electric blender on high, then you've gotta place this in your bedroom.

Seriously -- the musicianship is highly competent, and there is an obvious commitment to the entire production. But this CD is not dreamy.

The album title nails it: "Rhythmic FISSION -- digital revisions of classic trax."

A Dreamy Listening Experience.......2004-06-01

This music is ideal accompaniment for lucid dreaming...Some of the tracks are loud,fast, and flashy ("Chasing Bartok" track #1, "Machines" track #10 come to mind) while others are fragile and soothing ("Addio Del Passato" and "Espirito"). Any one of these songs would be a superb compliment to a movie soundtrack--they all have this movie-dream-type quality to them, whether the movie/dream is creepy, beautiful, sad, or just plain experimental electronic music. Tracks 12-14 are heavy on vocals: Track 12 is very similar to the enigma song "Beyond the Invisible", while "I would Kiss You" makes me think of Loreena McKennitt with a dash of techno-renaissance flair, and finally "New World" has its good moments, but sounds a bit Disney-esque. "Addio Del Passato" and "Espirito" are the best tracks on the whole album; they sound like the ideal Anne Rice movie soundtrack selections, with "Addio" serving for any goth-vampire-opera-or-nightclub scenes, and "Espirito" for any childhood flashback scenes (hey, that's just what it sounds like!)...

Customer Reviews:

Live Nono--early and late--brings mixed results.......2003-11-21

This disc in Col Legno's valuable Collage edition collects live festival performances of works by Luigi Nono, including the world premier performance of his early Due Espressioni. Concentrating on one early work and three late ones, this disc avoids Nono's agitprop political phase in favour of his more meditative work.

Due Espressioni dates from 1953, when Nono was already becoming a big name amongst the young modernist generation. The title summarises the musical content very well--it is a bipartite work, the opening half being largely string-led, with soft chromatic melody; the second half being brusque and aggressive, with powerful percussive eruptions. This mono recording of the premiere is not in great sound, but it's a good performance--conducted by Hans Rosbaud, that invaluable servant of modernism--and the only recording available.

The rest of the disc involves late works. A Carlo Scarpa is a stunning ten-minute orchestral elegy using the most minimal of materials: repeated percussion motifs, and the notes C and E flat--both with microtonal fluctuations. The techniques here might remind one of Giacinto Scelsi's music, but the effect--and atmosphere--conjured up is very different. Where Scelsi's work is transcendental, Nono's is elegiac, nervous and monumental. The performance here, conducted by Michael Gielen, is at least as good as his rival recording on Montaigne.

Nono's only string quartet, Fragment-Stille, an Diotima, comes next. This was the work that clarified his late style--consisting as it does of many fragments played often near the edge of audibility, with long silences between them. This live recording with the Moscow String Quartet doesn't come close to matching the Ardittis' recently reissued recording for intensity--the playing is too fast and lacking in tension.

Finally, Post Prae-Ludium No 1. This is a work for tuba, modified by live electronics, recorded at its world premiere. It's a slow, mostly quiet work, with the soft tuba notes echoed and spatially transformed by the live electronic work. A CD recording--and this appears to be the only one available--can't bring out all the effect of this work when heard live, but it's good to have one all the same.

I'd recommend this disc primarily to those already fans of the composer, since only two of the four works are essential Nono, and the performance of Fragmente-Stille is only partially successful.

all seminal Gigi.......2001-09-23

Here you have encysted great works by Luigi, and comprehensive, diapasonal conductors. Hans Rosbaud was an early effulgence visionary, taught the young Boulez the timbral fastidiousness we all need.Sorry Boulez never conducted any late Nono concoctions.And Michael Gielen,who has championed Nono's late works.
The "espressione" 2 is quite an early work impacted,with high intensity,the palindromic half-step. This is an early recording from the Fifties, stridently rendered, walls of timbre. It reveals an impassioned young erudite man efficacious,dyspeptic at times for the espousal of Marxism cojoined with the elan,the dysgenically dodecaphonic means.
We leave the young Luigi to warp speed to the seminal works the last decade of his life,dedications was a fecund means of Luigi rendering differing states of timbre. Carlo Scarpa was a noted Venetian architect.Scarpa's aesthetic had no real direct impression on Nono, it was more the man's deep sense of creativity, his working lifeworld concept. This work is to me like a haunted requiem, Nono had come to beleive that the culture of the west was at the end of illusion, tragedia d'ascolto, the tragedy of listening largely homogenized with market forces. This dedication to Scarpa is like appraising timbre under a microscope,mists of microintervallic timbres, barely audible, with graphic petrified like extended plucking with coloristic bongo hits,all gentle, delicate in the string body. The impacted sound then of the trombones, all on low Fs, together.
Nono sought to discover new roads, new silences, new intervals, and he did in this work.
Likewise the 'Fragment Stille und Diotema', caused an endemic stur at its premiere in Bonn,in 1980. Again we appraise timbre microscopically,lachrymal feathery moments.
Live electronics as well was a new creative preserve for Gigi, and Giancarlo Schiaffini was part of his new timbral cadre, with Carlo Scarponi,clarinetist,or Stefano Scondanibbio,contrabassist, and Roberto Fabricciani, flutes, The Tubist playes into a 30 second delay,rendering an effect like a grotto, a cave, with extended sonorities played with some degree of performative freedoms,'percorsi', or paths are chosen by the performer, playing falsetto tones, normal, half-valved(more percussive), multiphonics, when you sing and play simultaneously. This gives way to a concluding sections of a low mastodonic C,played like an impassioned wounded whale,laggardly rendered, yet with a degree of humanity of nature.

Average customer rating:

Works for Piano: For Two Hands

Manufacturer: Hat[now]Art
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Tracks:

Drei KlavierstAndantino
Drei KlavierstAndantino Grazioso
Drei KlavierstPresto
Drei KlavierstI Fragment Eines Scherzos Fvier
Drei KlavierstII Fragment Eines Klavierst
Drei KlavierstIII Fragment Eines Klavierst
Drei KlavierstIV Fragment Eines Klavierst
Drei KlavierstV Zwei Fragmente Eines Klavierst
Drei KlavierstVI Fragment Eines Klavierst
Drei Klavierstp. 11: Mdrei Klavierstp. 11: Mige Viertel
Drei Klavierstp. 11: Mige Achtel
Drei Klavierstp. 11: Bewegte Achtel
Drei Klavierstp. 11: VII Fragment Eines Klavierst
Drei Klavierstp. 11: VIII Fragment Eines Klavierst
Sechs Kleine Klavierstp. 19: Leicht, Zart
Sechs Kleine Klavierstp. 19: Langsam
Sechs Kleine Klavierstp. 19: Sehr Langsame Viertel
Sechs Kleine Klavierstp. 19: Rasch, Aber Lecht
Sechs Kleine Klavierstp. 19: Etwas Rasch
Sechs Kleine Klavierstp. 19: Sehr Langsam
Sechs Kleine Klavierstp. 19: IX Fragment Eines Klavierst
Sechs Kleine Klavierstp. 19: X Fragment Eine Klavierst
Sechs Kleine Klavierstp. 19: XI Fragment Eines Klavierst
Favierstp. 23: Sehr Langsam
Favierstp. 23: Sehr Rasch
Favierstp. 23: Langsam
Favierstp. 23: Schwungvoll
Favierstp. 23: Ein Walzer
Suite Fvier Op. 25: Prdium
Suite Fvier Op. 25: Gavott
Suite Fvier Op. 25: Musette
Suite Fvier Op. 25: Intermezzo
Suite Fvier Op. 25: Menuett Mit Trio
Suite Fvier Op. 25: Gigue
Suite Fvier Op. 25: Xii Fragment Eines Klavierst
Klavierst. 33a
Xiii Fragment Eines Klavierst
XIV Fragment Eines Klavierst
XV Fragment Eines Klavierst
Klavierst. 33b
Xvi Fragment Eines Klavierst
Xvii Fragment Eines Klavierst

Average customer rating:

mesh rules
Meshtastic!
Awesome 2CD Set:

Fragmente 2

ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music

General | Dance & DJ | Styles | Music

General | Alternative Rock | Indie Music | Stores | Music

General | Dance & DJ | Indie Music | Stores | Music
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Who Watches Over Me?
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ASIN: B00008CM66
Release Date: 2002-10-10

Tracks:

Scares Me [Mesh Remix]
Trust You [Single Version]
You Didn't Want Me [Radio Mix]
People Like Me [Remix]
Not Prepared [Club Mix]
The Damage You Do [Perfect Porno Mix]
The Purest People
Safe With Me
Remember Who You Are
In The Light of Day
It Scares Me [Mesh Locarno Mix]

Tracks:

Trust You [Mesh Remix]
Scares Me [Fearful]
This Without You
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Not Prepared [Blowhole Mix]
Fragile [U.S. Mix]
Something Wrong
Sympathy
I Don't Expect to Be Right
Time Enough [Snare's Mix]
Safe With Me [Snare's Epic Edit]
Trust You [Buskers Mix]

Album Description

The greatest hits collection to rival all greatest hits collections! Contains all the Mesh club-hits as well as remixes, b-sides, and rarities!

Customer Reviews:

mesh rules.......2005-10-31

Im afan of synth music with some substance and mesh has that. Some of the synth crap thats out right now is weak. Mesh,iris,de/vision,have substance. I love the remixes on this album.

Meshtastic!.......2004-04-14

If you haven't checked out this band yet, do it now! And this double album is probably the best to start with. Catchy synth pop songs with great lyrics. Sounds simple but their music is more complicated than that!

Awesome 2CD Set:.......2004-03-18

Like the cover says, a collection of Singles, b-sides, and other rarities. At first I looked at the price, then I realized it's 2 disks filled some of Mesh's best songs. I am listening to this set while writing this review and I can't say enough about it. It simply is one the outright coolest sounding Darkwave albums available to mankind. I get tired of Depeche Mode being what every other synth-band gets compared to. Mesh is the standard, and is far greater than any Depeche Mode Album I have heard and own. Anymore I compare other bands to Mesh. It's a treat to have something this rare in my collection. My friends ask where I found this band, and want to borrow everything I own by them.

Hanns Eisler: Lieder Und Kantaten Im Exil

Average customer rating:

Hanns Eisler: Lieder Und Kantaten Im Exil

Manufacturer: Berlin Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0000035V7
Release Date: 1996-09-24

Tracks:

Lieder Und Kantaten Im Exil: Zwei Elegien: I. (In die Stadte kam ich...)
Lieder Und Kantaten Im Exil: Zwei Elegien: II. (1hr, die 1hr auftauchen werdet...)
Lieder Und Kantaten Im Exil: Der Pflaumenbaum: Version (Im Hofe steht ein Pflaumenbaum)
Lieder Und Kantaten Im Exil: Uber die Dauer des Exils: I. (Schlage keinen Nagel in die Wand)
Lieder Und Kantaten Im Exil: Uber die Dauer des Exils: II. (Sieh den Nagel in der Wand)
Lieder Und Kantaten Im Exil: Zufluchtsatte (Ein Ruder liegt auf dem Dach)
Lieder Und Kantaten Im Exil: Elegie (Wirklich, ich lebe in finsteren Zeiten)
Lieder Und Kantaten Im Exil: Spruch (In den finsteren Zeiten)
Lieder Und Kantaten Im Exil: Shakespeares Sonett Nr. 66: Tired with all these
Lieder Und Kantaten Im Exil: Der Zweck der Musik: Lateinischer Spruch: (Sur adhibes tristi)
Lieder Und Kantaten Im Exil: An den Schlaf (Schlaf, susser Schlaf)
Lieder Und Kantaten Im Exil: Spanisches Liedchen (Mein Bruder war ein Flieger)
Lieder Und Kantaten Im Exil: Lied einer deutschen Mutter (Mein Sohn, ich hab dir die Stiefel)
Lieder Und Kantaten Im Exil: Der Rauber und sein Knecht (Im Hessischen waren zwei Rauber)
Kantaten Im Exil: 1. Man lebt von einem Tag zu dem anderen
2. Die Romische Kantate - 1. Das grosse Rom
2. Die Romische Kantate - 2. Der Gestank
2. Die Romische Kantate - 3. Woher kommt er?
2. Die Romische Kantate - 4. Die Angst
3. Die Gott-sei-bei-uns-Kantate (Herr Backer, Herr Backer, das Brot ist verbacken)
4. Nein (In unserem Land bringt ein Mensch)
5. Die den Mund auf hatten (Die den Mund auf hatten)
6. Bettellied (Singt noch einmal ein Lied)
7. Die Weissbrotkantate - 1. Bei der Betrachtung eines kirchlichen Gemaldes
7. Die Weissbrotkantate - 2. Die wahre Geschichte von San Berardo
7. Die Weissbrotkantate - 3. Abschliessende Bemerkung
8. Kriegskantate (Das Land ist nicht mehr das alte Land)
9. Die Zuchthauskantate (Angelo Landon wurde mit einundzwanzig Jhahren)
10. Kantate auf den Tod eines Genossen - 1. Die Nachricht
10. Kantate auf den Tod eines Genossen - 2. Die Verhaftung
10. Kantate auf den Tod eines Genossen - 3. Die Ermordung
10. Kantate auf den Tod eines Genossen - 4. Der Nachruhm
Sonette: 1. Sonett uber Goethes Gedicht: 'Der Gott und die Bajadere'
Sonette: 2. Sonett uber Schillers Gedicht: 'Die Burgschaft'

Tracks:

Lieder II: 1. Der Sohn: I. (Wenn sie nachts lag)
Lieder II: 1. Der Sohn: II. (Mein junger Sohn fragt mich)
Lieder II: 2. An den kleinen Radioapparat (Du kleiner Kasten, den ich fluchtend trug)
Lieder II: 3. In den Weiden (In den Weiden am Sund)
Lieder II: 4. Fruhling (Fischreiche Wasser)
Lieder II: 5. Speisekammer 1942 (Oh, schattige Kuhle)
Lieder II: 6. Auf der Flucht (Da ich die Bucher)
Lieder II: 7. Uber den Selbstmord (In diesem Lande und in dieser Zeit)
Lieder II: 8. Die Flucht (Auf der Flucht vor meinen Landsleuten)
Lieder II: 9. Gedenhtafel fur 4000 Soldaten, die im Krieg gegen Norwegen versenkt wurden (Wir liegen allesamt im Kattegat)
Lieder II: 10. Epitaph auf einen in der Flandernschlacht Gefallenen (Dass er verrecke ist mein letzter Wille)
Lieder II: 11. Spruch (Das ist nun alles)
Lieder II: 12. Ostersonntag (Heute, Ostersonntag fruh)
Lieder II: 13. Der Kirschdieb (An einem fruhen Morgen)
Lieder II: 14. Hotelzimmer 1942 (An der weissgetunchten Wand)
Lieder II: 15. Die Maske des Bosen (An meiner Wand hangt ein japanisches Holzwerk)
Lieder II: 16. Zwei Lieder nach Worten von Blaise Pascal: I. Despite these miseries
Lieder II: 16. Zwei Lieder nach Worten von Blaise Pascal: II. The only Thing
Aus Dem 'Hollywooder Liederbuch': 1. Winterspruch
Aus Dem 'Hollywooder Liederbuch': Funf Elegien: 1. Unter den grunen Pfefferbaumen
Aus Dem 'Hollywooder Liederbuch': Funf Elegien: 2. Die Stadt ist nach den Engein genannt
Aus Dem 'Hollywooder Liederbuch': Funf Elegien: 3. Jeden Morgen, mein Brot zu verdienen
Aus Dem 'Hollywooder Liederbuch': Funf Elegien: 4. Diese Stadt hat mich belehrt
Aus Dem 'Hollywooder Liederbuch': Funf Elegien: 5. In den Hugein wird Gold gefunden
Aus Dem 'Hollywooder Liederbuch': 3. Nightmare: (The ratmen accused me)
Aus Dem 'Hollywooder Liederbuch': 4. Hollywood-Elegie Nr. 7 (I saw many friends)
Aus Dem 'Hollywooder Liederbuch': 5. Die letzte Elegie (Uber die vier Stadte kreisen die Jagdflieger)
Aus Dem 'Hollywooder Liederbuch': 6. Der Schatzgraber (Arm am Beutel, krank am Herzen)
Aus Dem 'Hollywooder Liederbuch': 7. Panzerschlacht: (Du Farbers Sohn Vom Lech)
Aus Dem 'Hollywooder Liederbuch': 8. L'automne californien (Die Leiter blieb noch unterm Feigenbaume stehen)
Aus Dem 'Hollywooder Liederbuch': 9. Anakreontische Fragmente: 1. Geselligkeit betreffend
Aus Dem 'Hollywooder Liederbuch': 9. Anakreontische Fragmente: 2. Dir auch wurde Sehnsucht nach der Heimat todlich
Aus Dem 'Hollywooder Liederbuch': 9. Anakreontische Fragmente: 3. Die Unwurde des Alterns
Aus Dem 'Hollywooder Liederbuch': 9. Anakreontische Fragmente: 4. Spater Triumph
Aus Dem 'Hollywooder Liederbuch': 9. Anakreontische Fragmente: 5. In der Fruhe
Aus Dem 'Hollywooder Liederbuch': 10. Erinnerung an Eichendorff und Schumann (Aus der Heimat hinter den Blitzen rot)
Aus Dem 'Hollywooder Liederbuch': Holderlin-Fragmente: 1. An die Hoffnung
Aus Dem 'Hollywooder Liederbuch': Holderlin-Fragmente: 2. Andenken
Aus Dem 'Hollywooder Liederbuch': Holderlin-Fragmente: 3. Elegie
Aus Dem 'Hollywooder Liederbuch': Holderlin-Fragmente: 4. Die Heimat
Aus Dem 'Hollywooder Liederbuch': Holderlin-Fragmente: 5. An eine Stadt
Aus Dem 'Hollywooder Liederbuch': Holderlin-Fragmente: 6. Erinnerung
Aus Dem 'Hollywooder Liederbuch': 12. Der Mensch (Der Mensch, vom Weibe geboren)
Aus Dem 'Hollywooder Liederbuch': 13. Vom Sprengen des Gartens (Oh Sprengen des Gartens, das Grun zu ermutigen)
Aus Dem 'Hollywooder Liederbuch': 14. Die Heimkehr (Die Vaterstadt, wie find ich sie doch?)
Aus Dem 'Hollywooder Liederbuch': 15. Rimbaud-Gedicht (A quatre heures du matin)
Lieder III: In Sturmesnacht. Lied vom Juli (In Sturmesnacht, in dunkler Nacht ist ein Reis erbluhet)
Lieder III: 2. Das deutsche Miserere (Eines schonen Tages befahl'n uns uns're Obern)
Lieder III: 3. Es geht eine dunkle Wolk' herein - Es geht eine dunkle Wolk' herein

The Gates of Night and Day: Chamber Works by Dimitri Terzakis

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The Gates of Night and Day: Chamber Works by Dimitri Terzakis

Manufacturer: Cpo Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000DAKS
Release Date: 1998-09-29

Tracks:

Str Qt No.2 - Berner Streichquartett
Str Qt No.3 - Leonardo Qt
Die Tore der Nacht und des Tages - Ingrid Schmithusen/Beate Zelinsky/Brouwen Murray-Berg
Sappho-Fragmente - Halina Lukomska/Katerina Zlatnikova/Sandouri
Ethos B' - Hanna Auerbach/Stuttgarter Ens fur Neue Musik
Katawassia - Collegium Vox Koln
Erotikon - Halina Lukomska/Hermut Giesser/Egon Stegemoller/Klaus Heitz
Oktoechos - Phil Oktett Berlin