Music for Saxophone Quartet

On this CD:

1. Quartet for saxophones
Composed by Pierre Max Dubois
Performed by Matthew Levy, Reginald Borik, Timothy Miller, Michael Whitcombe

2. Quartet for saxophone, No 1, Op 53
Composed by Jean Baptiste Singelee
Performed by Matthew Levy, Reginald Borik, Timothy Miller, Michael Whitcombe

3. Tenor Indigo for saxophone quartet
Composed by Matthew Levy
Performed by Matthew Levy, Reginald Borik, Timothy Miller, Michael Whitcombe

4. Quartet for 4 saxophones
Composed by Matthew Levy
Performed by Matthew Levy, Reginald Borik, Timothy Miller, Michael Whitcombe

5. Improvisations (3) for saxophone quartet, Nos 1-03 (complete)
Composed by Phil Woods
Performed by Matthew Levy, Reginald Borik, Timothy Miller, Michael Whitcombe

6. Drastic Measures for saxophone quartet
Composed by Russell Peck
Performed by Matthew Levy, Reginald Borik, Timothy Miller, Michael Whitcombe

Tracks:

Passacaglia For Orchestra Op. 1: Sehr massig, Tempo I - Massig bewegt, Tempo II - Sehr lebhaft, Tempo III
5 Movements Op. 5: I. Heftig bewegt
5 Movements Op. 5: II. Sehr langsam
5 Movements Op. 5: III. Sehr lebhaft
5 Movements Op. 5: IV. Sehr langsam
5 Movements Op. 5: V. In zarter Bewegung
6 Pieces For Orchestra Op. 6: I. Etwas bewegte Achtel
6 Pieces For Orchestra Op. 6: II. Bewegt
6 Pieces For Orchestra Op. 6: III. Zart bewegt
6 Pieces For Orchestra Op. 6: IV. Langsam. Marcia funebre
6 Pieces For Orchestra Op. 6: V. Sehr langsam
6 Pieces For Orchestra Op. 6: VI. Zart bewegt
2 Arrangements: J.S. Bach: Fuga (Ricercata) a 6 voci: Sehr massig
Franz Schubert: German Dances Op. Post. D 820: No. 1 - No. 2 (No. 1) - No. 3 ( No. 1) In A Flat Major
Franz Schubert: German Dances Op. Post. D 820: No. 4 - No. 5 (No. 4) - No. 6 (No. 4) In B Flat Major
Im Sommerwind - Idyll For Large Orchestra: Ruhig bewegt - Ruhig - Lustig - Schnell - Feierlich bewegt - Voll Schwung - Aufjauchzend - sehr ruhig und weihevoll

Tracks:

5 Pieces For Orchestra: I. Bewegt
5 Pieces For Orchestra: II. Langsam (sostenuto)
5 Pieces For Orchestra: III. Sehr bewegte Viertel
5 Pieces For Orchestra: IV. Langsame Viertel
5 Pieces For Orchestra: V. (Alla breve)
3 Orchestral Songs: I. Leise Dufte: 'Leise Dufte, Bluten so zart'
3 Orchestral Songs: II. Kunfttag III: 'Nun wird es wieder Lenz'
3 Orchestral Songs: III. 'O sanftes Gluhn der Berge'
Symphony Op. 21: I. Ruhig schreitend
Symphony Op. 21: II. Variationen: Thema. Sehr ruhig - Var. I. Lebhafter - Var. II Sehr lebhaft - Var. III. Wieder massiger - Var. IV. Ausserst ruhig - Var. V. Sehr lebhaft - Var. VI. Marschmassig. Nicht eilen - Var. VII. Etwas breiter - Coda
Das Augenlicht Op. 26: 'Durch unsre offnen Augen' - 'The Eyes Of Radiance' - Langsam
Cantata No. 1 Op. 29: I. 'Zundender Lichtblitz des Lebens' - Getragen - Lebhaft
Cantata No. 1 Op. 29: II. 'Kleiner Flugel Ahornsamen' - Leicht bewegt
Cantata No. 1 Op. 29: III. 'Tonen die seligen Saiten Apolls' - Ruhig
Variations For Orchestra Op. 30
Cantata No. 2 Op. 31: I. 'Schweigt auch die Welt' - Sehr lebhaft - Ruhig
Cantata No. 2 Op. 31: II. 'Sehr tief verhalten innerst Leben' - Sehr verhalten
Cantata No. 2 Op. 31: III. 'Schopfen aus Brunnen des Himmels' - Sehr bewegt
Cantata No. 2 Op. 31: IV. 'Leichteste Burden der Baume' - Sehr lebhaft
Cantata No. 2 Op. 31: V. 'Freundselig ist das Wort' - Sehr massig
Cantata No. 2 Op. 31: VI. 'Gelockert aus dem Schosse' - Sehr fliessend

Tracks:

Piano Quintet: Moderato
'Entflieht auf leichten Kahnen' op. 2: Zart bewegt
2 Lieder op. 8: I. 'Du, der ichs nicht sage'
2 Lieder op. 8: 'Du machst mich allein'
5 Pieces for Orchestra op. 10: I. Sehr ruhig und zart
5 Pieces for Orchestra op. 10: II. Leghaft und zart bewegt
5 Pieces for Orchestra op. 10: III. Sehr langsam und ausserst ruhig
5 Pieces for Orchestra op. 10: IV. Fliessend, ausserst zart
5 Pieces for Orchestra op. 10: V. Sehr fliessend
4 Lieder op. 13: I. Wiese im Park: 'Wie wird mir zeitlos'
4 Lieder op. 13: II. Die Einsame: 'An dunkelblauem Himmel'
4 Lieder op. 13: III. In der Fremde: 'In fremden Lande lag ich'
4 Lieder op. 13: IV. Ein Winterabend: 'Wenn der Schnee ans Fenster fallt'
6 Lieder op. 14: I. Die Sonne: 'Taglich kommt die gelbe Sonne'
6 Lieder op. 14: II. Abendland I: 'Mond, als trate ein Totes'
6 Lieder op. 14: III. Abendland II: 'So leise sind die grunen Walder'
6 Lieder op. 14: IV. Abendland IV: 'Ihr grossen Stadte steinern aufgebaut'
6 Lieder op. 14: V. Nachts: 'Die Blaue meiner Augen'
6 Lieder op. 14: VI. Gesang einer gefangenen Amsel: 'Dunkler Odem im grunen Gezweig'
5 Sacred Songs op. 15: I. 'Das Kreuz, das musst' er tragen'
5 Sacred Songs op. 15: II. Morgenlied: 'Steht auf, ihr lieben Kinderlein'
5 Sacred Songs op. 15: III. 'In Gottes Namen aufstehn'
5 Sacred Songs op. 15: IV. 'Mein Weg geht jetzt voruber'
5 Sacred Songs op. 15: V. 'Fahr hin, o Seel', zu deinem Gott'
5 Canons op. 16: I. 'Christus factus est'
5 Sacred Songs op. 15: II. 'Dormi Jesu, mater ridet' From 'Des Knaben Wunderhorn'
5 Sacred Songs op. 15: III. 'Crux fidelis'
5 Sacred Songs op. 15: IV. 'Asperges me, Domine'
5 Sacred Songs op. 15: V. 'Crucem tuam adoramus, Domine'
3 Traditional Rymes op. 17: I. 'Armer Sunder, du'
3 Traditional Rymes op. 17: II. 'Liebste Jungfrau, wir sind dein'
3 Traditional Rymes op. 17: III. 'Heiland, unsre Missetaten'
3 Lieder for voice, E flat clarinet and guitar op. 18: I. 'Schatzerl klein'
3 Lieder for voice, E flat clarinet and guitar op. 18: II. Erlosung: 'Mein Kind, sieh an' From 'Des Knaben Wunderhorn'
3 Lieder for voice, E flat clarinet and guitar op. 18: III. 'Ave , Regina coelorum'
2 Lieder op. 19 for mixed choir: I. 'Wiess wie Lilien'
2 Lieder op. 19 for mixed choir: II. 'Ziehn die Schafe'
Quartet op. 22: I. Sehr massig
Quartet op. 22: II. Sehr schwungvall
Concerto op. 24: I. Etwas lebhaft
Concerto op. 24: II. Sehr schwungvoll
Concerto op. 24: III. Sehr rasch

Tracks:

3 Poems: I. Vorfruhling: 'Leise tritt auf...'
3 Poems: II. Nachtgebet der Braut: 'O mein Geliebter'
3 Poems: III. Fromm: 'Der Mond scheint auf mein Lager'
8 Early Lieder: I. Tief von fern: 'Aus des Abends weissen Wagen'
8 Early Lieder: II. Aufblick: 'Uber unsre Liebe hangt eine Trauerweide'
8 Early Lieder: III. Bleuengruss: 'Der Strauss, den ich gepflucket'
8 Early Lieder: IV. Bild der Liebe: 'Von Wald umgeben'
8 Early Lieder: V. Sommerbend: 'Du Sommerbend! Heilig, goldnes Licht!'
8 Early Lieder: VI. Heiter: 'Mein Herz ist wie ein See so weit'
8 Early Lieder: VII. Der Tod: 'Ach, es ist do dunkel in des Todes Kammer'
8 Early Lieder: VIII. Heimgang in der Fruhe: 'In der Dammerung'
3 Lieder on poems by Ferdinand Avenarius: I. Gefunden: 'Nun wir uns lieben, rauscht mein stolzes Gluck'
3 Lieder on poems by Ferdinand Avenarius: II. Gebet: 'Ertrage du's, lass schneiden dir den Schmerz'
3 Lieder on poems by Ferdinand Avenarius: III. Greunde: 'Schmerze und Freuden reift jede Stunde'
5 Lieder on poems by Richard Dehmel: I. Ideale Landschaft: 'Du hattest einen Glanz auf deiner Stirn'
5 Lieder on poems by Richard Dehmel: II. Am Ufer: 'Die Wlet verstummt, dein Blut erklingt'
5 Lieder on poems by Richard Dehmel: III. Himmelfahrt: 'Schwebst du nieder aus den Weiten'
5 Lieder on poems by Richard Dehmel: IV. Nachtliche Scheu: 'Zaghaft vom Gewolk ins Land'
5 Lieder on poems by Richard Dehmel: V. Helle Nacht: 'Weich kusst die Zweige der weisse Mond'
5 Lieder from 'Der siebente Ring' by Stefan George op. 3: I. 'Dies ist ein lied'
5 Lieder from 'Der siebente Ring' by Stefan George op. 3: II. ''Im windes-weben'
5 Lieder from 'Der siebente Ring' by Stefan George op. 3: III. 'An baches ranft'
5 Lieder from 'Der siebente Ring' by Stefan George op. 3: IV. 'Im morgen-taun'
5 Lieder from 'Der siebente Ring' by Stefan George op. 3: V. 'Kahl reckt der baum'
5 Lieder on poems by Stefan George op. 4: I. Eingang: 'Welt der gestalten lang lebewohl!'
5 Lieder on poems by Stefan George op. 4: II. Noch zwingt mich treue uber dir zu wachen'
5 Lieder on poems by Stefan George op. 4: III. 'Ja heil und dank dir'
5 Lieder on poems by Stefan George op. 4: IV. 'So ich traurig bin'
5 Lieder on poems by Stefan George op. 4: V. 'Ihr tratet zu dem herde'
4 Lieder on poems by Stefan George: I. 'Erwachen aus dem tiefsten traumes-schoosse'
4 Lieder on poems by Stefan George: II. Kunfttag I: 'Dem bist du kind, dem freund'
4 Lieder on poems by Stefan George: III. Trauer I: 'So wart bis ich dies dir noch kunde'
4 Lieder on poems by Stefan George: IV. 'Das lockere saatgefilde lechzet krank'
4 Lieder op. 12: I. 'Der Tag ist vergangen' - Folksong
4 Lieder op. 12: II. Die geheimnisvolle Flote: 'An einem Abend, da die Blumen dufteten' - Li-Tai-Po
4 Lieder op. 12: III. 'Schien mir's, als ich sah die Sonne' - 'Gespenstersonate'
4 Lieder op. 12: IV. Gleich und gleich: 'Ein Blumenglockchen'
3 Songs From 'Viae inviae' by HildegardJone op. 23: I. 'Das dunkle Herz, das in sich lauscht'
3 Songs From 'Viae inviae' by HildegardJone op. 23: II. Es sturzt aus Hohen Frische'
3 Songs From 'Viae inviae' by HildegardJone op. 23: III. Herr Jesus mein'
3 Lieder on poems by Hildegard Jone op. 25: I. 'Wie bein ich froh!'
3 Lieder on poems by Hildegard Jone op. 25: II. 'Des Herzens Purpurvogel fliegt durch Nacht'
3 Lieder on poems by Hildegard Jone op. 25: III. 'Sterne, ihr silbernen Bienen der Nacht'

Tracks:

Slow Movement For String Quartet: Langsam, mit bewegtem Ausdruck
5 Movements For String Quartet: I. Heftig bewegt
5 Movements For String Quartet: II. Sehr langsam
5 Movements For String Quartet: III. Sehr bewegt
5 Movements For String Quartet: IV. Sehr langsam
5 Movements For String Quartet: V. In zarter Bewegung
String Quartet
6 Batatelles For String Quartet op. 9: I. Massig
6 Batatelles For String Quartet op. 9: II. Leicht bewegt
6 Batatelles For String Quartet op. 9: III. Ziemlich fliessend
6 Batatelles For String Quartet op. 9: IV. Sehr langsam
6 Batatelles For String Quartet op. 9: V. Ausserst langsam
6 Batatelles For String Quartet op. 9: VI. Fliessend
Rondo For String Quartet: Bewegt
Movement For String Trio op. post.: Ruhig fliessend
3 Pieces For String Quartet: I. Bewegt
3 Pieces For String Quartet: II. Langsam: Grief Always; Looking Upward; Heaven's Dew; Memory; Black Flowers; On Breast; Out Of Mother
3 Pieces For String Quartet: III. Nicht zu langsam
String Trio op. 20: I. Sehr langsam
String Trio op. 20: II. Sehr getragen und ausdrucksvoll
String Quartet op. 28: I. Massig
String Quartet op. 28: II. Gemachlich - Bewegt
String Quartet op. 28: III. Sehr fliessend

Tracks:

2 Pieces For Cello And Piano: I. Langsam
2 Pieces For Cello And Piano: II. Langsam
Movement For Piano: Lebhaft
Sonata Movement (Rondo) For Piano: (Bewegt) - Ruhig bewegt - Sehr ruhig
4 Pieces For Violin And Piano op. 7: I. Sehr langsam
4 Pieces For Violin And Piano op. 7: II. Rasch
4 Pieces For Violin And Piano op. 7: III. Sehr langsam
4 Pieces For Violin And Piano op. 7: IV. Bewegt
3 Little Pieces For Cello And Piano op. 11: I. Massige
3 Little Pieces For Cello And Piano op. 11: II. Sehr bewegt
3 Little Pieces For Cello And Piano op. 11: III. Ausserst ruhig
Cello Sonata: Sehr bewegt
Children's Piece For Piano: Lieblich
Piano Piece: Im Tempo eines Menuetts
Variations For Piano op. 27: I. Sehr massig
Variations For Piano op. 27: II. Sehr schnell
Variations For Piano op. 27: III. Ruhig fleissend

Amazon.com

Pierre Boulez's Complete Webern Edition appears just over two decades after his last traversal. Well, it's not literally complete, but does have enough early works to set the mature ones in the right context. These days, Webern is no longer seen so much as a new music guru as he is a major composer, pure and simple--his expression as concise as it is intense. Performancewise, there's a quality of musicianship here that few previous recordings have matched; familiarity with the idiom certainly plays its part, but so does Boulez's belief that what we're hearing needs to be presented with conviction. Try the Passacaglia, sensuous music that combines the soundworld of Brahms and Mahler, or the string quartet or orchestra pieces--miniatures in duration, but whole dramas of expression.

Ease of performance doesn't always make this music easy to come to grips with: the song cycles need several listenings to grasp the meaning behind the compression, while the later instrumental and choral works have a luminous austerity that looks back to Bach and beyond to Renaissance masters such as Schütz and Isaac. While much of Webern's music has long been admired, only now is it becoming possible to respond to it through the heart as well as the brain. This set, superbly packaged and comprehensively documented, marks a major step forward, and deserves investigating by anyone keen to appreciate something of the music's quiet, calm essence in an often strident, dislocated century. --Richard Whitehouse

Customer Reviews:

Thank You Boulez.......2001-10-23

If you are a fan of the "New Vienna School" (Schoenberg, Berg, Webern) or 20th century "classical" or "serious" music, this disk set is very rewarding. Beautifully recorded and packaged, and with equally good liner notes, it is a treat to strap on the headphones and listen.

I debated between buying this or Boulez's older Webern set and went with this one. There is much more music on this set because pieces without opus numbers are included. They lend a lot of insight into his "published" works. I also went with this set because it is a modern digital recording, the previous set being from the early 70's. I will often side with a classic recording when needed-performance over sound. Here, I'm happy to report, the listener gets both. Every detail is captured.

Thank you very much Pierre Boulez and DG for making this project happen. Please keep the Schoenberg and Berg disks coming. And thank you Anton Webern for continually opening my ears.

5 Star music. Some very good performances, some are aimless........2001-08-25

Webern's music demonstrates a level of craft, in which few composers ever contend. The more that I listen to the works of Webern, the more I hear that each note must be just as it is. There is nothing wasted in this music. The expression is never vague, always intense. I do admire the works of many modern composers, but few are so discerning and meticulous in their works. Webern's craft is equal with the greats of music history; Guillarme de Machaut, Carlo Gesualdo, Claudio Monteverdi, J.S. Bach, Franz Joseph Haydn, Ludwig Beethoven. He is a towering figure. The music that is played here is first rate. However, I have not yet heard performances of many of his works that bring out everything that Webern's music has to offer. For example, the Op. 27 Piano Variations are seldom done justice. All of the movements are given `circa' tempo indications, but many take the movements much slower or faster than indicated. Unfortunately, on this recording the fast movement is slow and the slow movements fast. Presumably the slower tempo in the fast movement would allow for more accurate interpretation of the frequent changes between piano and forte. The problem is that the F's typically don't fade away fast enough and drown out the P's. The other option is to make the P's a little bit more like mezzo forte's. The recording that Pollini did of the work on Deutsche Gramaphon with the Boulez 2nd Sonata manages to reconcile the dynamics with the tempo. However, what I have not heard with the work is the full impact of the affect in the work. What the Pollini performance fails in is the coldness of the interpretation. For those interested, I believe that DG is currently putting out the Pollini performance with Stravinsky's Petruska and a Prokofiev sonata at a fairly low price. This recording brings together several performances of more `high profile' ensembles than the older recording on Sony, which mostly featured performances of musicians from Juilliard. The performances are often more colorful, but I can't say that I always think they surpass their predecessors. The interpretations of the works are a little bit `hit and miss.' The ensembles that Boulez conducts tend to bring out the same sorts of things in the works that the previous ensembles did with the last `complete Webern.' This is good in places; I appreciate the more resonant quality that the recent recording equipment affords, and Boulez conducts a comparable performance of the orchestral works such as the `Symphonie.' The recording of the `Konzert' for nine instruments is good. The performances of the early expressionist works, such as the `Five Orchestral Pieces,' are powerful. Boulez is less afraid to see the human in Webern and let the shocked silences speak. Furthermore, the peaks are less harsh, allowing more of the subtle affects to become visible. Some of the performances just lack a certain power of expression that the previous `complete webern' had; a viscerally that the strength of the `Webern - Vogue' afforded them. The musicians that played the previous complete were looking at Webern as a giant, they are young and virile performances. These performances sometimes view Webern as a curiosity, a historical anachronism, the way that your grandfather will tell you a strange story, of which he himself doesn't understand the point, but he relates as a bit of curio. All in all, I wouldn't say that this set of recordings is the final word on the majority of Webern's works. Many of the performances in the previous set are just as good, but neither do those constantly surpass these performances. Both have their faults. The previous set tended to be cold and more aggressive than was necessary in places. The new set tends to wander at times, as if the performer does not understand the point. It's always difficult to sum up a complete works set for a prospective buyer. Just as in `complete works' of Bach sets that I own, the performances are not always amazing. However, the strength of the compositions often overcomes my desire for a strong performance, and I'm just glad that I have a recording of someone performing that Bach work that I want to hear. Here, similarly, the performances aren't always the best, but there is a wider range of Webern's ouvre represented and many of the performances are quite good. I suppose my counsel would be that one should consider the price of this set vs. the older sony set. The sony set is less complete, but it does include all of the really monolithic, profound Webern works. You also get a view of the younger, romantic Webern in this new set, in addition to better sound quality. Certain performances are better in each set, and so you'll get some good and some bad in either choice. For those that already have a strong taste for Webern's music, try this set. For those who are looking for a starting place, you might try the sony set. The highlights of this set are the Boulez orchestral performances. He has honed his vision for Webern since the last set and they are `worth the price.' For those further exploring Webern, those performances should be heard.

not much more to be said.......2001-08-01

... i could be extremely nit-picky, and complain about the solo piano pieces, and their performer's occasional humming, and the baffling ordering of the quartet disc, and the discrepencies in the translations of the booklet, and how the english left out any explanation of sator arepo etc..., yet the french seems to, and all the little tiny errors, in the booklet... but... these are all moot points when any of the performances are heard. it brings to light all facets of the composer, so he no longer seems ascetic and overly intellectual, just check out the highly romantic string quartet op. 28, and variations for orchestra, yes even the solo piano pieces with the humming. all in all, a very enlightening experience.

a transcendent masterpiece.......2000-07-17

The performances here are absolutely brilliant.

Nuance, detail, sensitivity.

This is not merely music, this is magic!

Five stars and a bullet.......2000-06-13

Pierre Boulez, the enfant not-very-terrible-any-more of French music, has surpassed himself. Twenty-two years ago, CBS released his Complete Works of Anton Webern, and it's remained the definitive Webern collection. Until, as they say in movie trailers, now.

This consists of the three Webern albums Boulez has recorded for DG over the past five years or so, plus everything else Webern ever wrote. It thus scores straightaway over the earlier CBS/Sony set, which was restricted to works that had opus numbers and filled three CDs. This one includes the charming early songs, the equally early "Im Sommerwind" for orchestra and a number of posthumous and otherwise non-Opus works that didn't make it onto the earlier set. Webern is a composer whose entire output takes about six hours to listen to in its entirety, and it's all here, on six CDs.

That's fine; is it any good? Well, it's digitally recorded, and if ever a composer was born for CD, it's Webern. The pianissimos are more ppp than ever, thanks to better recording techniques. Boulez himself has also unbuttoned a bit. His earlier set, recorded between 1967 and 1972, was high on austerity and, if it fell down at all, did so on emotion. The older Boulez (he's 75 this year) is more relaxed about letting tuttis blare and climaxes, well, climax. The result is both as intellectually satisfying as we've come to expect from Boulez, and warmly expressive; in general, a more moving and less didactic set of recordings than the previous lot. And all the better for it, as far as this composer (and this listener) is concerned.

There are many benefits of a digital set, not the least being the better registration of timbral variety, which Webern (as is well known) made into a compositional principle. Even those allergic to twelve-tone music can't help but be ravished by the intricate sweetness of his arrangement of the Bach six-part fugue from the "Musical Offering". The arrangement of Schubert's German Dances has been re-recorded, and can be heard now in all its sprightliness. (The CBS/Sony set has an archive recording conducted by Webern himself in the thirties, but dodgy sound quality prevented it from shining forth properly, despite Webern's witty conducting.)

Tracks:

Kongerei - Traditional
Lacrymosa
Mugam Sayagi
Quartet No. 4 - Sofia Gubaidulina
A Cool Wind Is Blowing
K'vakarat
Night Prayers - Giya Kancheli

Amazon.com essential recording

One of the five most acclaimed New Music chamber ensembles in the world, Kronos Quartet has recorded music from every period, from Machaut to Wagner to Hendrix to Dun. Their Night Prayers collection--which features mainly Eastern European composers--peaks with Sofia Gubaidulina's bristling Quartet No. 4. Expert at traditional instrumentation and composition, Gubaidulina scripts the piece's early parts with vaguely balalaika-like tones that morph into mid- range, stretched notes. The quartet's underlying structure becomes a skittering display of plucked, repetitive notes against which the strings variously slash, sweep, and chatter. Gubaidulina's summation of late-century chamber work is more than striking. --Andrew Bartlett

Customer Reviews:

not as short as the other "singles".......2007-05-17

the music on this album evokes images like the cover presents;dark,ambient,questioning,and definately surreal.well worth the purchase!

Mysticism, Hauntingly and Atmospherically Intoned by Kronos.......2005-09-17

The Kronos Quartet will doubtlessly maintain a unique place in music history as the most innovative, risk-taking, humanistic fine group of musicians ever known. Not only is their ability to perform standard works excellent, but they have always stretched that virtuosity to explore rarely heard and even commissioned works by composers including some not known to the Western world at least.

NIGHT PRAYERS is as fine an example of their artistic strategy as any of the many recordings they have made. Though the works on this recording are truly meant to be performance art (the lighting and placement of the quartet and soloists on stage is a prime importance), this brilliant CD at least captures for posterity the beauty of the works they have performed.

The driving force of these varied works is to present music that is spiritual in a way many of us have never experienced. The works are primarily from the depths of Russia and Siberia and Eastern European countries influenced by the nomadic oriental sounds of a world practically unknown to us. Opening the recital is 'Kongerei', a traditional work from Tuva in Mongolia and is fascinatingly intoned by throat singers capable of producing multiple pitches (allowing themselves to harmonize with themselves!) simultaneously with the cello providing the ground bass.

This strangely haunting work is followed by Uzbekistani Dmitri Yanov-Yanovsky's setting of the 'Lacyrmosa'. The soloist, aptly, is Dawn Upshaw whose quiet clearly focused voice is surrounded in beauty by the minimalist quartet writing. 'Mugam Sayagi' by Azerbaijani Franghiz Ali-Zadeh is based on 16th century secret language of Islam and is primarily a solo cello work with minor filigree work from the violin. The stunning Quartet No. 4 by the brilliant Russian composer Sofia Gubaidulina and combines pre-recorded music (bouncing rubber balls) and live music it a manner that never approaches parody. It is simply stunning writing.

'A Cool Wind Is Blowing' by Tigran Tahmizyan is Armenian in style and in derivation and utilizes the Armenian wooden oboe (duduk) as played by Djivan Gasparian to reveal the poetry. The 'K'vakarat' by Osvaldo Golijov who, though born in Argentina, is from Russian Jewish parents and thus his composition for Cantor (Mikail Alexandrovich) and quartet fits well into this collection of music form the Steppes. The final work is the most mystical and beautiful for this listener. 'Night Prayer' by Georgian Giya Kancheli is not only a wondrous work for string quartet, it also adds voices at the end, voices of children singing 'Lord, hear my voice, Lord'. The use of silences is breathtaking.

This is simply one of those unusual recordings that deserves a wide audience. It is food for the mind, the soul, and the spirit. Highly Recommended. Grady Harp, September 05

An uneven but intriguing collection with Gubaidulina's 4th.......2005-06-07

NIGHT PRAYERS is a collection of pieces performed by Kronos Quartet whose binding theme is Central Asia. With the exception of Osvaldo Golijov, hailing from Argentina but of Russian-Jewish heritage, all the composers represented here were born in the former Soviet republics east of the Black Sea.

The disc opens with "Kongerei", a traditional song from Tuva sung by the Throat Singers of Tuva with the simplest of accompaniment by Kronos. The song is a lament for the Tuvans who, because of the arbitrary nature of international borders, are stuck in China unable to see the whole breadth of their ancestral homeland. While it is entertaining, the inclusion of this song smacks of world-music crossover gimmickry.

"Lacrymosa" by Uzbekistani composer Dmitri Yanov-Yanovsky is a frenetic piece for string quartet and soprano, based on a portion of the "Dies Irae" sequence of the Requiem Mass. Dawn Upshaw performs the vocal part. The texture of the work is reminiscent of the oeuvre of Arvo Part, but more astringent. I was quite impressed by the piece and look forward to hearing more of the work of Yanov-Yanovsky.

The Azerbaijani composer Franghiz Ali-Zadeh contributes "Mugam Sayagi", inspired by the Azerbaijani tradition of disguising songs of love from a man to a woman as a hymn to their god. The work is elegantly structured, a long drone from the cello representing a morning call to prayer before the rest of the quartet responds in passionate dance-like music and cadenzas, and finally a return to solo cello as an evocation of the evening call to prayer. This is a compelling work, probably the most pleasant surprise on the disc, though a bit overlong.

Sofia Gubaidulina's "String Quartet No. 4" is, I believe, the most important of the pieces here. This Russian-Tartar composer is one of the greatest artists (and saints) of our time, and her music is Christian with a sincerity and orthodoxy unmatched in contemporary repetoire by anyone but Messiaen. While much of Gubaidulina's work is immediately rewarding, such as her masterpiece JOHANNES-PASSION or her sympony "Stimmen Verstummen", her string quartets are difficult. This quartet, written in 1993, begins with a recording played of rubber balls bouncing on strings, then the use of lights of various colours (which listeners of this CD miss out on), and then finally the string quartet begins to play. The use of a recording which the performers have to answer may have been inspired by Nono's piece "La lontananza...", which Gubaidulina helped realise three years before. However, Nono's work is a dispassionate exploration of various timbres, while Gubaidulina's is rapture and ecstasy.

The Armenian musical tradition is represented here by Tigran Tahmizyan's piece "A Cool Wind is Blowing" for string quartet and duduk, a type of flute, here performed by Djivan Gasparian. The song is based on a folk song, a remnant of the Armenian culture that flourished before Muslim and Soviet domination, but the string quartet plays--almost at right angles to the flute part--a series of throughly modern sounds. It is quite short, under four minutes, and there is not much to say about it.

Osvaldo Golijov's "K'vakarat" was commissioned for the dedication of the U.S. Holocaust Museum in Washington D.C. It is centred around a Hebrew prayer sung during the High Holidays, and movingly sung here by the cantor Mikhail Alexandrovich. The cantor stands in worship of God, but the string quartet's role is meant to provide resistance. "Starting with Jakov who fought with God's angel," writes Golijov, "I have always admired the rebels." The piece stands in strong contrast with Gubaidulina's, for hers is a work of praise while Golijov's is a piece of doubt.

The disc closes with Giya Kancheli's "Night Prayers", at 23 minutes the longest piece here. For most of its length it is for unaccompanied string quartet, but in the last couple of minutes a recording is use of a male choir and boy soprano singing "Domine, exaudi vocem meam, Domine." The only other work I have heard by this Georgia composer is "Styx", which I find quite pleasant, but this piece neither touches the heart nor dazzles with technical innovation, and represents the worst parts of the "holy minimalism" genre.

I am a passionate admirer of the music of Sofia Gubaidulina, and think that this disc is worth buying just to obtain a recording of her fourth string quartet. Beyond that, however, this is a fine opportunity to learn about Central Asian composers who have embraced Western music but have brought along something unique from their own national traditions.

a deep, reverent journey through central asia.......2001-04-11

This collection from the Kronos Quartet presents works from Tuva in Western Siberia, Uzbekistan, Azerbaijan, Armenia, Georgia, and Russia, and includes Jewish, Islamic and both Catholic and Orthodox Christian themes.

The Throat Singers of Tuva create a ritual opening to the sacred with their opening "Kongerei." You'll have to turn up the volume to hear the lovely but faint soprano voice of Dawn Upshaw singing "Lacrymosa," from the Catholic mass. "Mugum Sayagi," by Franghiz Ali-Zadeh, an Azeri woman composer, begins softly, and then breaks out in virtuosic cadenzas, expressing "the ecstatic longing of a man for a woman expressed as the love of God," an example of the secret Azeri musical tradition of the 16th century used to evade Islamic strictures. Sofia Gubaidulina, the Russian/Tartar woman composer, contributes her masterful "Quartet No. 4" to the album, the most complex, modern piece here, and absolutely wonderful, though a little out of place with the other more folk-influenced works. "A Cool Wind Is Blowing," by the Armenian composer Tigran Tahmizyan, is my personal favorite -- only 4 minutes long, based on an ancient folk tune, it is haunting and memorable. "K'VARAKAT" features the lovely vocals of a Jewish cantor, and was commissioned for the dedication of the U.S. Holocaust Memorial Museum in Washington DC. Finally, the title piece, Kancheli's "Night Prayers," is a mournful and beautiful work that evokes "sadness, compassion and hope" in the words of the Georgian composer.

There is much silence and space here, evoking the desert, the mountains, and the steppe. The album is powerfully effective if you surrender to its dark, somber mood. NIGHT PRAYERS is tremendously relevant nowadays, addressing the common human condition across cultures and faiths. It could not be more ideal to accompany reflection and meditation on compassion, tolerance, and PEACE.

Average customer rating:

Delightful recording of some truly creative music
Philip Glass orchestral works
Stunning symphony no.2
A Mesmerizing Symphony & Lighthearted Concerto
Glass: Symphony No. 2

Symphony No. 2: Interlude From Orphee

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

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Symphony No. 3: Music From: The Voyage/The Civil Wars/The Light
Panorama: Jean Sibelius
Panorama: Sergey Prokofiev
Philip Glass: Symphonies Nos. 2 & 3
Philip Glass : Symphony No. 8

ASIN: B000006E4I
Release Date: 1998-04-21

Tracks:

Symphony No.2: Movement I
Symphony No.2: Movement II
Symphony No.2: Movement III
Interlude From Orphee (Act II, Scene 5)
Concerto For Saxophone Quartet And Orchestra: Movement I
Concerto For Saxophone Quartet And Orchestra: Movement II
Concerto For Saxophone Quartet And Orchestra: Movement III
Concerto For Saxophone Quartet And Orchestra: Movement IV

Customer Reviews:

Delightful recording of some truly creative music.......2005-02-02

I bought this recording on a whim and began listening to it during a long, lonely drive alongside the rocky flatirons of Colorado. Symphony No. 2 very much caught me off guard. What a sparkling, playful, and beautiful work! There are times when the music does things that you would not expect it to do at all (giving it the "atonal" quality that other reviewers refer too), but upon the second listening you will likely already be smiling when you encounter the various twists of the music. (One of the twists, by the way, is a mind-stretching change in time signature and extreme syncopation in the third movement...on my first listening, I honestly thought the disc was scratched.) The symphony is ever colorful and the strings are lush and very pleasing to the ear. Given minimalism's reputation, I was particularly pleased with how melodic the symphony is. If you are at all familiar with minimalism, you'll "get it" fairly quickly. If not, this is a delightful and particularly beautiful introduction to the subgenre.

I am a glutton for the Symphony form, so my enjoyment of the Saxophone Quartet was a pleasant surprise. I've certainly never heard anything like this before, the closest thing being a jazz ensemble. The crisp and full tone of the saxophones was the first thing I noticed. Again, this is very creative music.

Whether you are a minimalist connoisseur or not, you'll find this recording remarkable for both its performance and sound. I do love sharing this album (legally sharing of course) :-) Enjoy!

Philip Glass orchestral works.......2004-05-07

Glass is certainly deserving of his place as one of America's pre-eminent composers. He has made contributions in so many different media. His concerto for saxophone quartet (on this recording) is well worth listening to. Glass does seem to have quite a talent for composing concerti (see his Violin Concerto or the Concerto for Saxophone Quartet). However, I'm not sure that his musical processes work well for symphony orchestra. This is certainly not his best work. It was a disappointment.

Stunning symphony no.2.......2002-06-05

If you not think philip Glass can do symphonies listen to this...

This is, in its futuristic, motor rythmic way. beutiful minimalist music but it has its roots in the 30:ies-40:-ies (Villa-Lobos, Milhaud, Honegger et al). Anyway it is amazing and the concerto for saxophone (its one of Glass most played/performed and loved pieces) is also great but in another way. The short "bagatelle" in the middle from his Orphee opera is also typical Glass and good music too. I think you get Glass at his best on this one.

A Mesmerizing Symphony & Lighthearted Concerto.......2001-02-10

Symphony No. 2 is one of those works that you might not like on the first hearing; there is a dissonant atonal quality that persists throughout the work. However, by the second or third playing, you will be completely mesmerized by this music. It is easily one of his greatest works. The first and second movements are absolutely stunning! The third movement has much more complex rhythms but is equally beautiful in its own way.

The Saxophone Concerto is a lighthearted work, and quite different in mood from the symphony. These two works are best listened to separately, otherwise you may not appreciate the lighter tone of this concerto. This music is reminiscent of that excellent CD of Stravinsky's lighter music called "Shadow Dances". If you like Shadow Dances, you will like this concerto.

The only flaw on this otherwise perfect album is to be found on the album's liner notes: the short interlude sandwiched in the middle between the symphony and the concerto is too short! The album notes say it is 6'30" long, however is only 2'30".

Glass: Symphony No. 2.......2000-09-28

There is an unspeakable fear in this music - there is a vision of humanity which I have heard nowhere else. On the first few listens, this piece may sound strangely dissonant. Persist - I've had aural orgasms to this one. One of my favorite Glass pieces.

Webern: Symphony; Six Pieces; Concerto for 9 Instruments

Average customer rating:

Bored with rock'n' roll music
A good budget Webern collection

Webern: Symphony; Six Pieces; Concerto for 9 Instruments

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Schoenberg: Concerto for String Quartet & Orchestra; Lied der Waldtaube; The Book of the Hanging Gardens
Webern: Passacaglia, Symphony, Five Pieces
Berg/Schoenberg/Webern: Piano Music
Schoenberg: Six A Cappella Mixed Choruses
Berg: Chamber Concerto; Three Orchestral Pieces, Op. 6; Violin Concerto

ASIN: B0006M4SUU
Release Date: 2005-01-18

Tracks:

Ruhig, Schreitend
Variationen
Christus Factus Est
Dormi Jesu
Crux Fidelis
Asperges Me
Crucem Tuam Adoramus
Armer Sunder, Du
Heiland, Unsre Missetaten
Liebste Jungfrau, Wir Sind Dein
Schatzerl Klein
Erlosung (Aus 'Des Knaben Wunderhorn'
Ave, Regina Coelorum
Sehr Langsam
Sehr Getragen Und Ausdrucksvoll
Sehr Massig
Sehr Schwungvoll
Sehr Massig
Sehr Schnell
Ruhig Fliessend
Langsam
Bewegt
Massig
Sehr Massig
Sehr Langsam
Langsam
Sehr Langsam
Rasch
Sehr Langsam
Bewegt
Massig
Sehr Bewegt
Ausserst Ruhig
Etwas Lebhaft
Sehr Langsam
Sehr Rasch
German Dances: I
German Dances: II
German Dances: III
German Dances: IV
German Dances: V
German Dances: VI

Customer Reviews:

Bored with rock'n' roll music.......2005-10-24

I've been a rock'n'roll fan since my teens, but I
think that this great american invention has fulled its cycle(1955 - 1985). So I turned my ears to the music made in the beggining of the 19th century, and I think that this CD is a great introduction to it.

MÁRCIO G. SOARES
NATAL/RN - BRAZIL

A good budget Webern collection.......2005-06-25

Anton Webern has long been cited as one of the great bugbears of 20th century music, his works often more complained about than listened to. With chances to hear his music live still comparatively rare, and the Webern discography still dominated by the two Boulez "complete works" sets, it's good to see Naxos launching what is planned as a complete Webern set under a conductor (Robert Craft) with over 50 years of experience of the composer's music.

This first disc in the series provides a good cross-section of Webern's output, eleven pieces ranging from vocal to orchestral to chamber and instrumental--even a Schubert arrangement gets in. First off on the disc is Webern's Symphony. This two-movement work is certainly one of the odder symphonies in the repertoire--a slow-moving series of canons (with unvaried repeats) in the first movement and a much more fragmentary variation set as the finale. Craft certainly gets to the point of the first movement (I always hear Mahler as a strong influence here, and always feel the music is hovering on the edge of tonality), but the more abstract second movement--played extremely rapidly and effectively--is without doubt the revelation here.

The disc continues with a series of three sets of brief songs, the composer's opus 16, 17 and 18. This is in some ways a slightly playful choice, as it was in the opus 17 songs that Webern took up his teacher Schoenberg's serial method of composition--yet without reading the scores it is almost impossible to tell any real change in Webern's methods. All these songs are atonal and rather coolly expressionist--they're emphatically not easy listening but I think these readings (with Jennifer Welch-Babidge a fine soloist) make them a lot more appealing than the rather stern Boulez performances.

Craft then follows this with two serial chamber works. The two-movement String Trio is a tightly wrought miniature drama, given a fine, expressive performance. The brief Saxophone Quartet is rather more relaxed, and this is caught well by the players. I'm less convinced by Christopher Oldfather's reading of the Piano Variations, which to my mind doesn't fully project the wit of the piece (Webern isn't often considered a musical humorist, but a performance of this work that doesn't put a smile on the listener's face seems to me to be missing the point).

Craft then moves back to early atonal-expressionist Webern for the next three works. The Six Pieces for Orchestra are perhaps the most overtly Mahlerian pieces in Webern's oeuvre, particularly the colossal funeral march that forms the fourth of the pieces. Craft has them well in hand here, but I have heard readings that projected greater intensity. In sharp contrast are the Four Pieces for Violin and Piano and the more introverted Three Little Pieces for Cello and Piano. These brief works, often shimmering on the edge of silence or stasis, suddenly burst into brief flower before dying again, and Jesse Mills and Fred Sherry do a fine job of capturing their haunting, evanescent character.

Not quite so successful is the later Concerto for Nine Instruments. One of the key works in Webern's output, this is another example of the composer showing his wit in music, and to my mind, despite an excellent reading of the slow central movement, this performance doesn't quite have the necessary rhythmic sharpness in the vibrant outer movements.

Finally, Craft ends with Schubert's German Dances in Webern's 1931 orchestration. These works had been rediscovered the previous year, and Webern was commissioned to produce an orchestral version. The result may not be on the level of his outstanding orchestration of the Ricercar from Bach's Musical Offering, but it's emphatically not hack-work, and it's a splendid recreation of the Schubertian style.

Overall, while not perfect, this disc is still a fine collection and an inexpensive way to for newcomers to experience this very distinctive composer. At the price, long-time Webern admirers will probably find much to enjoy too, particularly in the Symphony and the songs.

Average customer rating:

A must-have album for Glass OR saxophone fans...
Wonderful, polished performances of Glass Sax music!

Philip Glass : Saxophone
Glass , The Rascher Saxophone Quartet , Andrew Sterman , and The Philip Glass Ensemble Woodwinds
Manufacturer: Orange Mountain
ProductGroup: Music
Binding: Audio CD

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le saxophone Francais
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Philip Glass: The Concerto Project, Vol. 1
Scena: Contemporary Music for Saxophone

ASIN: B000075A3R
Release Date: 2002-11-14

Tracks:

Concerto for Saxophone (Quartet Version)
Melodies for Saxophone
The Windcatcher

Album Description

This is the fourth CD from the archive and studio of Philip Glass relased by Orange Mountain Music.

This CD of solo and all-saxophone compositions contains The world renowned Raschèr Saxophone Quartet's brilliant recording of "The Saxophone Concerto (Quartet Version)". The Raschèr Quartet has performed this piece 90 times in the major concert halls of Europe and United States and it shows. This stunning recording was produced by Mr. Glass' production team, Kurt Munkasci and Michael Riesman, in 1998 at the Looking Glass Studios.

Also represented is one of New York's preeminent woodwind players, Andrew Sterman, performing "Melodies for Saxophone", 13 shorter pieces for solo saxophone, some of which were inspiration for the Saxophone Concerto.

The disc is completed with a new recording, "The Windcatcher". The veteran Philip Glass Ensemble Woodwind players, Jon Gibson, Richard Peck, and Andrew Sterman performed this composition for saxophone sextet. Messrs. Gibson, Peck and Sterman have made enormous contributions to Philip Glass' music for several years (over 70 years among them!) and their ongoing participation in the ensemble continues to assure its excellence. This Michael Riesman/Don Christensen-produced recording exhibits their extraordinary ensemble sensibilities and their keen understanding of Philip's music. The Saxophone CD is 61 minutes long and has a 12 page booklet of liner notes providing background on the compositions, recordings and players.

Customer Reviews:

A must-have album for Glass OR saxophone fans..........2003-02-12

or anyone with ears, for that matter. The Concerto is simply an amazing experience. There have been less-than-inspiring concert performances of the orchestral version, but forget what you've heard and get this album. The musicality of the Quartet's performance is beyond description.

And if you or someone you love plays the saxophone, get the album and get the score of the Melodies out of the library or buy it. They range in difficulty from "you can play it at sight" to "maybe a few months from now", but how much of Glass's music is available for you to play right now by yourself?

For those who will just be listening, Andrew Sterman's performances are worth the price of the album. The baritone work, in particular, will delight audiophiles and inspire many saxophone players to find better day jobs---either to stop playing entirely, or to go out and get a bari of their own on which to attempt to reproduce those amazing sounds.

Wonderful, polished performances of Glass Sax music!.......2002-12-03

This CD is the fourth release on Philip Glass's new private Orange Mountain Music label. Four releases in less than a year is impressive, and each of the four has been wonderful. All are available only through amazon.com.

"Saxophone" as the name implies, is a CD of all-saxophone music. Starting off with the Concerto for Saxophone Quartet, which originally appeared on the CD "Symphony No. 2" (Nonesuch Records) in the full version with orchestra, this version is scored for saxophone quartet only. It's a wonderful piece in four movements- each movement is markedly different from each other. Of particular note for myself is the third movement, which goes to my heart like a laser beam was shown on it. I can picture Philip Glass composing the third movement during a rainy night in Manhattan. It never fails to almost bring me to tears. The jazzy, joyous second and last movements are a great counter to the third movement. I still prefer the original recording with the orchestra, but this is a wonderful performance and you may prefer it over the original. The Rascher Saxophone Quartet does an awesome job in their performance.

The next piece on the CD is called Melodies for Saxophone, consisting of 13 short "sketches", some of which made their way into the saxophone concerto. These are all skillfully played by Andrew Sterman, who is a member of the Philip Glass Ensemble. Some of the pieces are great, and others are definitely not much more than sketches. The pieces give further insight into the thought processes of a true genius.

The final piece on the CD is called The Windcatcher. This is my favorite piece on the CD. In three movements of moderate length, this is a beautiful piece, effortlessly played by longtime members of the Philip Glass Ensemble: Jon Gibson, Richard Peck, and Andrew Sterman. These guys have played Glass music for up to three decades and it shows (it's more difficult to play than these guys make it sound.)

Tracks:

Gavotte
Pavane Et Menuet Vif
La Tyrolienne
Patres
Variations Sur Marlborogh
Le Carnival De Venise
Con Andante
Valse Chromatique
Quatuor-Theme & Scherzo
Menuetto
Serenade Comique
Concertino De Camera
Concertino De Camera
Concertino De Camera
Canzonetta
Piece En Forme De Habanera
Les Millions D'Arlequin-Serenade
Esquisse
Concertino
Concertino
Sevilla
Cache-Cache
Scherzo

Customer Reviews:

I Only Wish I Could Have Met Him.......2007-01-18

Like the title suggest, I wish I had met hime before his death in 2001. Even though this disc is of original, "poorer quality" recordings, you can still hear Mule's mastery of timbre and vibrato. You can also tell that Mule was originally a violinist from his use of vibrato. I had fellow musician listen to these recordings without telling him who it was and the instrument, and he immediately thought srings. I recently had the opportunity to met and play with Eugene Rousseau, a former student of Marcel Mule and a saxophone genius. I also have the honor of studying under a star pupil of Rousseau, Anna Marie Wytko. Rousseau discussed Mule and through these recordings and my meeting him, I understand why Marcel Mule is called "Le Patron".

The Best Recordings of Vintage Music.......2005-01-05

This recording is fabulous. Marcel Mule's vibrato while considered outdated, is beautiful, his sound is one of the most beautiful I have ever heard. Technique, intonation and articulation are some of the best ever. His playing is light and accurate. His playing reflects a sound, that should be strived for, even when playing contemporary music. When he plays fast passages, it is still musical. The recording does not leave an empty feeling of, "WOW, he played and tongued really fast!" But one of awe at his ability to control and manipulate the saxophone is to doing whatever he wants. Since all of these Mule recordings are dated between 1930 adn 1940, they were recorded on LPs, and the background noise that is heard the noise that would be heard if listenting to an original LP, it most likely hasn't been taken out to preserve the original quality of the recording to prevent the loss of certain pitches and overtones that are contained in the recording.
This Marcel Mule CD is one that should be owned by all saxophonists.

THE essential saxophone recording........2003-07-31

I can now truly understand why Marcel Mule is considered "Le Patron" after hearing this album. On every single piece, he performs with impecible musicality: tight articulations, great breath control, nice understanding of volume, and tone and vibrato that a great violinist would kill for. Another interesting aspect is the excerpt from Francois Combelle, showing a history of how the instrument used to be played as if it were a clarinet.

Every single saxophonist should own this album, for it is a perfect example of how the saxophone is supposed to be played.

A Foundational Recording for MOdern Saxaphone.......2003-01-27

Marcel Mule was one of the founding fathers of the "classical saxaphone." Becasue of it's youth, the saxaphone is many times disregarded as a legitimate instrument. If nothing else, Mule has gone beyond the call of duty in this wonderful cd to prove any and all of those accusations wrong.
Mule has conquered some exraordinary compositions on this recording. He has taken such a youthful instrument and has given age which in turn, encompasses the soul and feeling that classical music presents in almost any setting.For an insturment that was so scientifically crafted, Mule has given the saxaphone life and colors. His intonation is almost infallable. He has a dark, deep and rich sound that resonates on every longer tone. And his vibrato just sings as any stringed instrument would do.
While the recording is a little fuzzy, which is probably due to it's date of recording, and, or that the recording was done from a distance, and in a hall, the purchase is well worth it. To be able to hear one of the leading forerunners in this still somewhat sub-cultural group of performers is a wonderful experience. So much can be learned from this cd.

Average customer rating:

Le Patron of the Saxaphone, Encore!

Manufacturer: Clarinet Classics
ProductGroup: Music
Binding: Audio CD

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Marcel Mule: "Le patron" of the Saxophone
le saxophone Francais
Appeal of Saxophone
A La Francaise
Russian Saxophone

ASIN: B000007TOM
Release Date: 2000-08-12

Tracks:

Rapsodie pour saxophone, harp et celeste (And Gong)
Le Dauphin
Chanson d'Autrefois
Chanson de la Grande-Maman
Grave et Presto
Grave et Presto
Introduction et Variations sur une Ronde PopulairIntroduction et Variations sur une Ronde Populaire
La Cinquantaine
Chanson Hindou (Sadko)
Le Cygne
Sonate pour Saxophone: Allegro con brio
Sonate pour Saxophone: Andante
Sonate pour Saxophone: Vivace
Humoreske
Saxo-Folly
Orientalisme
Menuet
Quartet No. 41: Scherzo
La Fileuse
Agitato
Quartet No. 1 In A Minor: Scherzo
Explication
Deux Pieces Pour Columbia: Split
Deux Pieces Pour Columbia: Vitamines

Average customer rating:

This is just awful - I was suckered by the excellence Reich Remixed
a huge letdown...
The Ever Recyclable Glass
Pop music with only a hint of Philip Glass
Sound Effects

Glasscuts, Philip Glass Remixed

Manufacturer: Orange Mountain Music
ProductGroup: Music
Binding: Audio CD

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Roving Mars
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Philip Glass : Les Enfants Terribles

ASIN: B0009Y8I0G
Release Date: 2005-09-13

Tracks:

Another Look at Harmony
Piano Etude No.2
Saxophone Concerto
Tirol Concerto for Piano and Orchestra
Etude No.1
Houston Skyline
Dance from Act II, Scene III of Akhnaten
Etude No.5
Channels and Winds
Why Are We Here?
Thin Blue Line
Saxophone Concerto
2nd Perception of Light, Moon, Mist and Rainbow

Album Description

It has been said that Philip Glass is the `Godfather of Trance' and evidence of that is found in the remixes that a number of young producers/musicians began sending to Orange Mountain Music as early as 2002. These unsolicitated mixes became the genesis for Glasscuts, Philip Glass Remixed (release date Sept 2005). This CD presents a very diverse program without any one dominant style. The artists are Androoval from Uruguay, Robert Bell from Australia, Brian Bender from the US, Hector Castillo from Venezuela, Taylor Dupree from the US, Sebastian Escofet from Argentina, impLOG, from the US, Woody McBride DJ ESP from the US, Marcos Romero from Uruguay, Kate Simko from the US, Dietrich Schoenemann from the US, Luciano Supervielle from Uruguay and Dave Wesley from the US.

We invite you to immerse yourself in Glasscuts, Philip Glass Remixed with open ears to experience a Glass that is reminiscent of the past, but with an adventurous contemporary twist.

Customer Reviews:

This is just awful - I was suckered by the excellence Reich Remixed.......2006-07-23

I just assumed that this would be as equally wonderful, and that Glass' music would be even more translatable into the "trance" genre, or whatever the kids are calling it nowadays.

Sadly, it seems that this was done by junior high kids with a computer and Acid Foundry or whatever that cheap software is.

No creativity, and, oddly enough, not even any real sense of Glass' music still being in the "remix".

I am a huge fan of Glass; I am not a fan of this kind of music, but since I am also a fan of Reich and since, to my total surprise, I am quite enthralled by the Reich Remixed CD, I figured I really needed to give this CD a shot.

What a waste. This is totally amateur, but without the occasional genius that some amateur can manage. Strictly, totally, and banal amateur yuckiness.

a huge letdown..........2005-12-21

Yeah, it's fun and easy to beat up on remix albums since there are so many mediocre and terrible ones out there... but, wait: here's a great idea... let's give the pioneering, repetitive, trance-like minimalist music of Philip Glass the remix treatment... after all, Reich: Remixed was fabulous... surely the same kind of creativity can be unleashed in this project... But alas, something went terribly wrong here... these are mostly unbearably monotonous, grating, overlong, amateurish productions by remixers who don't seem to even GET (or enjoy?) Glass' music. A real missed opportunity and a huge letdown... ick...

The Ever Recyclable Glass .......2005-11-20

This is just another insipid release from the Orange Mountain label, which keeps putting out anything with the Philip Glass
name on it - even if it is flagrant garbage. Several releases have been issued which about 90% have the same old songs, just performed by different people. In fact, Philip Glass has become more banal and bovine in the last few years because he knows anything with his name on it will sell to the trendy modernistic music crowd. Overall, I believe it is time to stop
recycling Glass.

Pop music with only a hint of Philip Glass.......2005-10-28

This music should be categorized under the "popular music" category, not "classical". All the pieces have an incessant drum beat typical of popular music. This is unlike any other Philip Glass CD that I have and I have about a dozen of them. Where can I get rid of this?

Sound Effects.......2005-09-24

When this album was announced, I was quite looking forward to it; before hearing anything, I compared it to the wonderful work done on "Reich Remixed" which takes some daring approaches to Reich's music and does an excellent job (with a few exceptions) of being new and exciting. Unfortunately, Glass Remixed isn't as daring or as good.

Much of the music is overshadowed with Glass's music and themes. It's as if someone was playing the original music in the background and sound effects were added to it. Throughout listening to Remixed, these sound effects got in the way of the music and I ended up digging out the original pieces and listening to them. However, there are some excellent pieces of interpretation contained within: Etude #2, the Tirol Concerto, and the Saxophone Concerto stand out (especially the Saxophone Concerto since I don't care for the original piece).

The other mark against this effort is all the work had to come from the Orange Mountain Music catalog due to ownership complications. This is not to say there aren't outstanding pieces in the catalog, but this restriction limits most of Glass's seminal works from being considered.

As a huge Glass fan, I was mildly disappointed, but I applaud the effort and the concept behind it.

Hindemith: Heckelphone Trio, Op. 47, Clarinet Quartet, Sonata for 4 Horns

Average customer rating:

Hindemith: Heckelphone Trio, Op. 47, Clarinet Quartet, Sonata for 4 Horns

Manufacturer: MD&G Records
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music

Hindemith: Sonata for horn; Sonata for harp
Hindemith: Compelete Sonata, Vol.5

ASIN: B0000021EU
Release Date: 1995-09-19

Tracks:

Trio Op.47: 1st Pt: 1. Solo/2. Arioso/3. Duet
Trio Op.47: 2nd Pt: Potpourri: I. Schnelle Balbe/II. Lebhalf. Ganze Takte/III. Schnelle Halbe...
Qt: Massig Bewegt
Qt: Sehr Langsam
Qt: Massig Bewegt: 1. Massg Bewegt/2. Lebhaft/3. Ruhig Bewegt/4. Sehr Lebhaft
Son: Fugato
Son: Lebhaft
Son: Var Uber: 1. Getragen/2. Scherzando/3. (Ohne Bezeichnung)/4. Moderato/5. Schnell - Ens Villa Musica E

Amazon.com

Villa Musica must be quite a large ensemble, as only pianist Kalle Randalu appears in more than one of these items. The Quartet, a rarity on LP, is almost turning into a greatest hit on CD. It's the best piece on this disc, and it gets a marvelous performance, clear and full of impulse. The Trio with the heckelphone, an odd double-reed instrument which gained as little popularity as Schubert's arpeggione, isn't a masterpiece, but the performance really swings and holds your attention. EVM's four horn players have great tonal suavity, but they don't kick this piece along the way others have. Still, an entertaining and varied disc. --Leslie Gerber

Average customer rating:

Excellent Webern from the master Boulez and company.
Webern may grow on you and Boulez et al. are worth every penny.
Interesting and Challenging
The original and still the best
Boulez's Webern -- brilliant modern miniatures

Anton Webern: Complete Works, Opp. 1-31
Anton Webern , Pierre Boulez , Heather Harper , Charles Rosen , Isaac Stern , Halina Lukomska , Colin Bradbury , John [guitar] Williams , Daniel Majeske , Robert Marcellus , Abraham Weinstein , and Barry McDaniel
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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Varèse - The Complete Works / Royal Concertgebouw Orchestra · Asko Ensemble · Chailly
Arnold Schoenberg: Serenade/Five Pieces For Orchestra
Schoenberg: The String Quartets
Berg: Chamber Concerto; Three Orchestral Pieces, Op. 6; Violin Concerto
Arnold Schoenberg: Piano Music

ASIN: B000002707
Release Date: 1991-02-08

Tracks:

Passacaglia fur grobes Orch Op.1 - LSO/Pierre Boulez
'Entflieht auf leichten Kahnen' Op.2 (Text: Stefan George) - John Alldis Chor/Pierre Boulez
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: I. Dies ist ein Lied fur dich allein... - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: II. Im Windesweben-Sehr fliebend - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: III. Am Bachesranft-Ziemlich rasch - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: IV. Im Morgentaun-Fliebend - Heather Harper/Charles Rosen
Funf Lieder Op.3, aus 'Der siebente Ring' von Stefan George: V. Kahl reckt der Baum-Langsam - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: I. Eingang-Ruhevoll - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: II. Noch zwingt mich Treue-Bewgt - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: III. Ja Heil und Dank-Sehr langsam - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: IV. So ich traurig bin-Sehr fliebend und zart - Heather Harper/Charles Rosen
Funf Lieder Op.4, nach Gedichten von Stefan George: V. Ihr tratet zu dem Herde-Langsam - Heather Harper/Charles Rosen
Funf Satze fur Streichquartett Op.5: I. Heftig bewegt - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: II. Sehr langsam - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: III. Sehr bewget - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: IV. Sehr langsam - Juilliard Str Qt
Funf Satze fur Streichquartett Op.5: V. In zarter Bewegung - Juilliard Str Qt
Sechs Stucke fur grobes Orch Op.6: I. Etwas bewegte Achtel - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: II. Bewgt - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: III. Zart bewegt - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: IV. Langsam - LSO/Pierre Boulez L
Sechs Stucke fur grobes Orch Op.6: V. Sehr langsam - LSO/Pierre Boulez
Sechs Stucke fur grobes Orch Op.6: VI. Zart bewegt - LSO/Pierre Boulez
Vier Stucke fur Geige und Klavier Op.7: I. Sehr langsam - Isaac Stern/Charles Rosen
Vier Stucke fur Geige und Klavier Op.7: II. Rasch - Isaac Stern/Charles Rosen
Vier Stucke fur Geige und Klavier Op.7: III. Sehr langsam - Isaac Stern/Charles Rosen
Vier Stucke fur Geige und Klavier Op.7: IV. Bewegt - Isaac Stern/Charles Rosen
Zwei Lieder fur mittlere Stimme und acht Instrumente Op.8, nach gedichten von Rainer Maria Rikle:... - Heather Harper
Zwei Lieder fur mittlere Stimme und acht Instrumente Op.8, nach gedichten von Rainer Maria Rikle:... - Heather Harper
Sechs Bagatellen fur Streichquartett Op.9: I. Mabig - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: II. Leicht bewegt - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: III. Zeimlich fliebend - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: IV. Sehr langsam - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: V. Auberst langsam - Juilliard Str Qt
Sechs Bagatellen fur Streichquartett Op.9: VI. Fliebend - Juilliard Str Qt
Funf Stucke fur Orchester Op.10: I. Sehr ruhig und zart - LSO/Pierre Boulez
Funf Stucke fur Orchester Op.10: II. Lebhaft und zart bewegt - LSO/Pierre Boulez
Funf Stucke fur Orchester Op.10: III. Sehr langsam und auberst ruhig - LSO/Pierre Boulez
Funf Stucke fur Orchester Op.10: IV. Fliebend, auberst zart - LSO/Pierre Boulez L
Funf Stucke fur Orchester Op.10: V. Sehr fliebend - LSO/Pierre Boulez
Drei kleine Stucke fur Violoncello und Klavier Op.11: I. Mabige Achtel - Gregor Piatigorsky/Charles Rosen
Drei kleine Stucke fur Violoncello und Klavier Op.11: II. Sehr bewegt - Gregor Piatigorsky/Charles Rosen
Drei kleine Stucke fur Violoncello und Klavier Op.11: III. Auberst ruhig - Gregor Piatigorsky/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: I. Der Tag ist vergangen (Volkslied)-Sehr ruhig - Heather Harper/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: II. Die geheimnisvolle Flote (Li Tai po/Bethge)-... - Heather Harper/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: III. Schein mir's als ich sah die (aus August ... - Heather Harper/Charles Rosen
Vier Lieder fur Singstimme und Klavier Op.12: IV. Ein Winterabend (Goethe0-Sehr flieBend - Heather Harper/Charles Rosen

Tracks:

Vier Lieder fur Sopran und Orch Op.13: I. Wiese im Park (karl Kraus)-Sehr ruhig - Heather Harper
Vier Lieder fur Sopran und Orch Op.13: II. Die Einsame (Wang Xen Yu/Bethge)-Bewegt - Heather Harper
Vier Lieder fur Sopran und Orch Op.13: III. In der Fremde (Li Tai Po/Bethge)-FlieBend - Heather Harper
Vier Lieder fur Sopran und Orch Op.13: IV. Ein Winterabend (Georg Trakl)-Sehr ruhig - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: I. Die... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: II. ... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: III. ... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: IV. ... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: V. Nachts... - Heather Harper
Sechs Lieder fur Singstimme und vier Instrumente Op.14, nach Gedichten von Georg Trakl: VI. Gesang.. - Heather Harper
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: I. Das Kreuz-Getragen - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: II. Morgenlied (aus'Des Knaben... - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: III. In Gottes Namen aufstehn-... - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: IV. Mein Weg geht jetzt voruber-... - Halina Lukomska
Funf geistliche lieder fur Sopran und funf Instrumente Op.15: V. Fahr hin , o Seel'-FlieBend - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: I. Christus... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: II. Dormi... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: III. Crux... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: IV. Asperges... - Halina Lukomska
Funf Kanons nach lateinischen Texten fur Sopran, Klarineete und BaBklarinette Op.16: V. Crucem... - Halina Lukomska
Drei Volkstexte fur Singstimme und drei Instrumente Op.17: I. Armer Sunder, du - Halina Lukomska
Drei Volkstexte fur Singstimme und drei Instrumente Op.17: II. Liebste Jungfrau, wir sind dein - Halina Lukomska
Drei Volkstexte fur Singstimme und drei Instrumente Op.17: III. Heiland, unsre Missetaten - Halina Lukomska
Drei Lieder fur Singstimme, Es-Klarinette und Gitarre Op.18: I. Schatzerl klein - Halina Lukomska/John Williams/Colin Bradley
Drei Lieder fur Singstimme, Es-Klarinette und Gitarre Op.18: II. Erlosung - Halina Lukomska/John Williams/Colin Bradley
Drei Lieder fur Singstimme, Es-Klarinette und Gitarre Op.18: III. Ave Regina - Halina Lukomska/John Williams/Colin Bradley
Zwei Lieder fur gemischten Chor und funf Instrumente Op.19, aus'Chinesisch-deutsche Jahres-... - John Alldis Choir/Pierre Boulez
Zwei Lieder fur gemischten Chor und funf Instrumente Op.19, aus'Chinesisch-deutsche Jahres-... - John Alldis Choir/Pierre Boulez
Streichtrio Op.20: I. Sehr langsam - Members of the Juilliard Str Qt
Streichtrio Op.20: II. Sehr getragen und ausdrucksvoll - Members of the Juilliard Str Qt
Sym Op.21: I. Ruhig schreitend - LSO/Pierre Boulez
Sym Op.21: II. Variationen - LSO/Pierre Boulez
Qt fur Geige, Klarinette, Tenorsaxophon un Klavier Op.22: I. Sehr maBig - Charles Rosen/Daniel Majeske/Robert Marcellus/Abraham Weinstein
Qt fur Geige, Klarinette, Tenorsaxophon un Klavier Op.22: II. Sehr schwungvoll - Charles Rosen/Daniel Majeske/Robert Marcellus/Abraham Weinstein
Drei Gesange Op.23, aus 'Viae inviae' von Hildegard Jone: I. Das dunkle Herz-Getragen - Halina Lukomska/Charles Rosen
Drei Gesange Op.23, aus 'Viae inviae' von Hildegard Jone: II. Es sturzt aus hohen Frisch-Bewegt - Halina Lukomska/Charles Rosen
Drei Gesange Op.23, aus 'Viae inviae' von Hildegard Jone: III. Herr Jesus mein-Langsam - Halina Lukomska/Charles Rosen
Konzert fur neum Instrumente Op.24: I. Etwas lebhaft - Members of the LSO/Pierre Boulez
Konzert fur neum Instrumente Op.24: II. Sehr langsam - Members of the LSO/Pierre Boulez
Konzert fur neum Instrumente Op.24: III. Sehr rasch - Members of the LSO/Pierre Boulez
Drei Lieder fur Singstimme und Klavier Op.25, nach Gedichten von Hildegard Jone: I. Wie bin ich... - Halina Lukomska/Charles Rosen
Drei Lieder fur Singstimme und Klavier Op.25, nach Gedichten von Hildegard Jone: II. Des Herzens... - Halina Lukomska/Charles Rosen
Drei Lieder fur Singstimme und Klavier Op.25, nach Gedichten von Hildegard Jone: III. Sterne, Ihr... - Halina Lukomska/Charles Rosen

Tracks:

'Das Augenlicht' fur gemischten Chor und Orch Op.26, Worte von Hildegard Jone - John Alldis Chor/Pierre Boulez
Variationen fur Klavier Op.27: I. Sehr maBig - Charles Rosen
Variationen fur Klavier Op.27: II. Sehr schnell - Charles Rosen
Variationen fur Klavier Op.27: III. Ruhig flieBend - Charles Rosen
Streichquartett Op.28: I. MaBig - Juilliard Str Qt
Streichquartett Op.28: II. Gemachlich - Juilliard Str Qt
Streichquartett Op.28: III. Sehr flieBend - Juilliard Str Qt
Kantate Nr.1 Op.29, Worte von Hildegard Jone: I. Zundender Lichtblitz-Getragen - Halina Lukomska/John Alldis Chor
Kantate Nr.1 Op.29, Worte von Hildegard Jone: II. Kleiner Flugel, Ahornsamen-Leicht bewegt - Halina Lukomska/John Alldis Chor
Kantate Nr.1 Op.29, Worte von Hildegard Jone: III. Tonen die seligen Saiten -Ruhig - Halina Lukomska/John Alldis Chor
Variationen fur Orch Op.30 - LSO/Pierre Boulez
Kantate Nr.2 Op.31: I. BaB. Schweigt auch die Welt - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: II. BaB. Sehr tiefverhalten - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: III. Chor. Schopfen aus Brunnen des Himmels - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: IV. Sopran. Leichteste Burden der Baume - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: V. Chor. Freundselig ist das Wort - Halina Lukomska/Barry McDaniel/John Alldis Chor
Kantate Nr.2 Op.31: VI. Chor. Gelockert aus dem SchoBe - Halina Lukomska/Barry McDaniel/John Alldis Chor
Funf Satze fur Streinchquartett Op.5: I. Heftig bewegt - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: II. Sehr langsam - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: III. Sehr bewegt - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: IV. Sehr langsam - LSO/Pierre Boulez
Funf Satze fur Streinchquartett Op.5: V. In zarter Bewegung - LSO/Pierre Boulez
J.S. Bach/A. Webern: Fuga (Ricercata) Nr.2 aus dem 'Musikalischen Opfer' - LSO/Pierre Boulez
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): I. - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): II. (I.Da capo) - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): III. (I.Da capo) - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): IV. - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): V. (IV. Da capo) - Frankfurter Funkorchester/Anton Webern
F. Schubert: 'Deutsche Tanze' (German Dances/Danses allemandes/Danze tedesche): VI. (IV. Da capo) - Frankfurter Funkorchester/Anton Webern

Amazon.com essential recording

This collection presents all Webern's works with opus numbers in chronological order, allowing listeners to scrutinize the inner workings of this influential composer's intense, compressed style from the lush Passacaglia to the starkness of his late vocal works. A broadcast recording of Webern conducting a group of Schubert Dances makes a lively bonus. --Jed Distler

Customer Reviews:

Excellent Webern from the master Boulez and company........2006-09-12

Boulez has a DG recording, which I have several singles from that set. The DG is very good and recommended as a second set. This Sony recording is outstanding and the finest in my Webern collection. If you have this set , you still may want to look at the DG set. Why? Because this music is so wonderful, so that another experience is well worth the price of say $40. But if you have the DG set, you definetly want to keep that set and also get this Sony set.
Notice how few new Webern recordings are released. When conductors hear this set, I guess they feel its pointless to try to meet these standards. The artists here are all in excellent form and understanding of this extremely difficult but rewarding music.

Webern may grow on you and Boulez et al. are worth every penny........2005-09-18

If you are looking for an introduction to Webern, give this a try. It has the advatage of being comprehensive and well played. If you don't like all of Webern, so be it. If you buy this recording and give it a few listenings you will have heard enough to make an informed judgement.

I have found that Webern's music demands mutiple hearings before you can say you've really heard it. When you are in the mood for some 20th century pioneering work, turn to this recording and listen. Over time, you will be glad you did.

Interesting and Challenging.......2004-04-09

I don't know if I "like" Webern, but he is certainly interesting and challenging. The textures of his music are very fragile and transparent. The pieces are extraordinarily economical (the average Webern piece, I would guess, is about two minutes in duration, maybe less). The dissonances are extreme (strange to say, twelve-tone music can vary in how dissonant it sounds, as some twelve-tone composers (Berg, for example) use "easier" tone rows as the bases of their works). Webern was a musician of great integrity, and he pushed twelve-tone music to the radical extreme (as compared his more conservative teacher, Schoenberg, and fellow-pupil, Berg.) Again, I don't know if it works, and I don't know if I like it. I will definitely continue to listen to it. What I definitely like is this wonderful recording, with performances lovingly rendered. For this reason, I'm giving the recording five stars. However, if you want an "easier" introduction to twelve-tone and atonal music, get Berg's Violin Concerto, or even Schoenberg's piano concerto. With respect to the Schoenberg piano concerto, Mitsuko Uchida's disc is wonderful, and is highly recommended.

The original and still the best.......2003-11-25

Boulez's seminal original recordings of Webern are still important today. They capture the extraordinary distance this