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1.Varese: Arcana; Ameriques; Ionization; Offrandes; Density 21.5; Octandre; Integrales from: Sony
January 14, 1991
Average Rating:  out of 5 stars

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Music : Varese: Arcana; Ameriques; Ionization; Offrandes; Density 21.5; Octandre; Integrales
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I can see that Frank Zappa would have been inspired by this music. As a longtime Zappa fan, I can hear plenty in Zappa's music that was modeled after Varese. Still, Varese's pieces on this CD are hardly monumental or awe-inspiring, and this seems to be the kind of music that very much depends on how it's played and interpreted. You don't get much better than Pierre Boulez; if it was, for example, me conducting an ensemble in performing Varese's work, nobody would listen. So it seems that it's not as much the music as the performance. And that Varese cannot be credited with.

2.SYR 4: Goodbye 20th Century from: Sonic Youth / Syr
November 16, 1999
Average Rating:  out of 5 stars

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Music : SYR 4: Goodbye 20th Century
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The best thing with this product is undoubtly the names to whom it is contributed. One should really sincerely appreciate the good taste of SY to lift up and include such grand modern masteur composers as Wolff, Cardew, Cage and etc. Less successful however is the attempt to translate these 40 or so years old, mainly score, compositions and replace their original instrumentations and to attempt to change their structure to "rock".

Sometimes it does get endurable but at other times it completely falls out to miss the mark. Even if Wolff himself appears at times and also the renowned Marclay contributes it doesn't even come close to the originals at any time. It may be said that some of the tracks more demolishes than recaptures them.

Most of those who reviews here ... Read More

3.Takemitsu: Chamber Music from: Naxos
September 23, 2003
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Music : Takemitsu: Chamber Music
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This Naxos disc contains several chamber works by Toru Takemitsu, the self-taught Japanese composer who was one of the most singular composers of the 20th century. They are performed by flautist Robert Aiken and several other Toronto-based musicians with whom Takemitsu formed a close relationship. With the exception of a single piece, all are from the last two decades of his life, after his modernist apogee and when he had entered a "sea of tonality".

"Voice" for solo flute (1971) is the only piece here from Takemitsu's modernist middle-period. Its writing is rougher than other pieces, sometimes a lot and at other times not much so, and it makes use of quarter-tones. But what really sets it apart is Takemitsu's having the performer shout, sing, and hum into the instrument, amplifying ... Read More

4.Varèse - The Complete Works / Royal Concertgebouw Orchestra · Asko Ensemble · Chailly by: Edgard Varese, Riccardo Chailly, Mireille Delunsch, Sarah Leonard, Royal Concertgebouw Orhcestra, Asko Ensemble
September 15, 1998
Average Rating:  out of 5 stars

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Music : Varèse - The Complete Works / Royal Concertgebouw Orchestra · Asko Ensemble · Chailly
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Varese was always frustrated by interpretations of his works and longed for the day when he could electronically produce his music, directly realizing his compositions exactly as he intended them. Theoretically that leaves us two works--Poeme Electronique and the tape interpolations on Deserts--as reference points. I suppose it would be simple-minded to turn exclusively to these works for guidance in how Varese should be played, but I can't help but refer to them myself because the tape interpolations on Deserts were what got me hooked on Varese in the first place. Unlike many here, I never was much of a Zappa fan and didn't even know he listened to Varese. No, my pop music idol was Hendrix, and it was easy to move from Hendrix's long feedback solos to the electronic portions of Deserts.
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5.Music for an Awful Lot of Winds and Percussion from: Telarc
September 29, 1992
Average Rating:  out of 5 stars

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Music : Music for an Awful Lot of Winds and Percussion
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This isn't the old PDQ Bach, e.g., Concerto for Horn and Hardart--which was also good. It's "evolved," insofar as PDQ Bach is capable of evolution...

When my wife gave this to me for Christmas, I turned it on and thought it was a live performance, like the first albums--and like the Schickele performances we've happily attended. It took a few seconds to realize that it was a mock performance, of the Turtle Mountain Naval Base Tactical Wind Ensemble (who are also, as announced by Professor Schickele, busy protecting North Dakota from naval attack, a clever comment making the CD all the more worth it!) at a convenient North Dakota location.

As a Wagnerian, I was attracted to "Last Tango in Beyreuth," the last musical number on the CD. If I may paraphrase Schickele's statement of a long ... Read More

6.Philip Glass: The Concerto Project, Vol. 1 from: Orange Mountain Music
September 11, 2004
Average Rating:  out of 5 stars

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Music : Philip Glass: The Concerto Project, Vol. 1
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The cello concerto is, for Glass, surprisingly lyrical. Nothing earth shaking, but not bad, and certainly well played. The kettledrum business, I'm afraid, is the most appalling piece of cheese, featuring a series of orchestral themes that seem to have been lifted from bad B-movies. That opening motif, which sounds like it should accompany marauding Vikings as their ship approaches the coast, makes me wince. I had the curious experience of hearing this piece the other day in concert, played by far lesser talents than these, and I was struck by how so much tympanic fury signified precisely nothing. No doubt the electric presence of Evelyn Glennie in all her barefoot glory would go a long way toward making this piece tolerable in concert. But this is not a DVD, alas. However, I give the record an extra star for great ... Read More

7.Duo Piano Extravaganza from: Philips
October 17, 1995
Average Rating:  out of 5 stars

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Music : Duo Piano Extravaganza
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Esta grabación tiene aciertos y desaciertos; Dentro de los aciertos laas variaciones sobre el capricho N° 24 de Paganini por W. Lwtoslavski pagan por el disco, La sonata de Bartok para dos pianos es de lo mejor que he oído igual puedo decir del Concierto para dos pianos y percusión. En los desaciertos debo comenzar por el mayor de todos, Mozart definitivamente no es para Aguerich. Para interpretar a Mozart se requiere más que precisión y temperamento, se requiere sensibilidad y no es que Arguerich carezca de ella como se puede apreciar en su interpretación de Chopin (en otras grabaciones); lo mismo puede decirse de su interpretación de Debussy. La Suite para dos pianos de Rachmaninoff no es su mejor interpretación, ya lo había hecho antes con mejor fortuna.

8.Complete Works from: El Records
November 02, 2007
Average Rating:  out of 5 stars

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Music : Complete Works
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The Complete works by Varese with the New York Wind Ensemble is a legendary recording, which has hugely influenced many muscians from Zappa to Pere Ubu. If not familiar with the works of Edgar Varese this is definitely the album to start with.

9.African Rhythms from: Teldec
June 17, 2003
Average Rating:  out of 5 stars

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Music : African Rhythms
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The Aka Pygmy group was recorded in Teldex Studio Berlin, rather than in the field as usual, and thus the recording features the clearest and most beautiful Pygmy music I have heard.

Aimard's performance of Ligeti's Etudes is also amazing, and would be highly preferable to Frederick Ullen's recordings if complete.

Reich is somewhat neglected for lack of piano works, with Music for Pieces of Wood being adapted to piano.

The liner notes, by musical director Simha Arom, Aimard, Ligeti, and Reich are far more imformative than most, explaining the conception of the disc and features of all three musics.

10.Varese: Orchestral Works Vol. 2 - Ameriques; Ecuatoria; Ionisation from: Naxos
May 27, 2008
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Music : Varese: Orchestral Works Vol. 2 - Ameriques; Ecuatoria; Ionisation
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My acquaintance with Edgar Varèse goes back to the old Columbia stereo LPs of the early 1960s, with forces led, I believe, by Robert Craft. Varèse's was certainly the strangest music I had ever heard - modern, abstract, full of novel sharp-edged sonorities - but unlike forbidding modern music of the Schoenberg-variety it did not cold-shoulder the listener. Perhaps because the small-ensemble pieces all work according to Varèse's ritualistic esthetic, the auditor could find himself drawn into the sound world in the way one might suspend his disbelief to participate in a primitive religious ceremony. The two "big" scores, Amériques and Arcana, imposed a heavier demand related to the largeness of the forces, the density or rapidity of musical "events," and the sustained dissonance of the harmonies. After a few auditions, the "plan" ... Read More

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