| | Berg, Webern: Chamber Music CD Arditti / Litwin, S CDS
Berg, Webern: Chamber Music Music | List Price | $16.97 (You save $6.02) | | Label | Na‹ve | | Orig Year | 11/18/2003 | | All Time Sales Rank |  15888  | | CD Universe Part number | 6420873 | | Discs | 1 | | Release Date | Nov 18, 2003 | | Recording Time | 41 minutes |
Berg, Webern: Chamber Music Review
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Berg, Webern: Chamber Music Songs | 1. Piano Quintet (Massig) (11:58) | | Composer | Anton Webern (1883 - 1945) | | Performer | Stefan Litwin (Piano) | | Genre | Quintet | | Date Written | 1907 | | Country | Austria | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 2. Pieces (4) for violin & piano, Op. 7 (4:43) | | Common Name | Pieces For Violin & Piano | | Composer | Anton Webern (1883 - 1945) | | Performer | Stefan Litwin (Piano)
Irvine Arditti (Violin) | | Date Written | 1910 | | Country | Austria | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 3. Sonata for cello & piano (1:40) | | Composer | Anton Webern (1883 - 1945) | | Performer | Rohan de Saram (Cello)
Stefan Litwin (Piano) | | Genre | Sonata | | Date Written | 1914 | | Country | Austria | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 4. Little Pieces (3) for cello & piano, Op. 11 (2:34) | | Composer | Anton Webern (1883 - 1945) | | Performer | Rohan de Saram (Cello)
Stefan Litwin (Piano) | | Date Written | 1914 | | Country | Austria | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 5. Fugue, for string quartet in C major (2:34) | | Common Name | Fugue For String Quartet | | Composer | Alban Berg (1885 - 1935) | | Date Written | circa 1907 | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 6. Variations on an original theme, for string quartet in D major (2:22) | | Composer | Alban Berg (1885 - 1935) | | Date Written | circa 1907 | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 7. Sarabande, for string quartet in F major (1:20) | | Composer | Alban Berg (1885 - 1935) | | Date Written | circa 1907 | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 8. Minuet for string quartet in D minor (1:07) | | Common Name | Minuet For String Quartet | | Composer | Alban Berg (1885 - 1935) | | Date Written | circa 1907 | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 9. Minuet for string quartet in C minor (1:16) | | Common Name | Minuet For String Quartet | | Composer | Alban Berg (1885 - 1935) | | Date Written | circa 1907 | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 10. Variations on a Theme by Schumann, for string quartet in G minor (1:42) | | Composer | Alban Berg (1885 - 1935) | | Date Written | circa 1907 | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 11. Theme and 5 Variations, for violin & piano in E major (3:56) | | Composer | Alban Berg (1885 - 1935) | | Performer | Stefan Litwin (Piano)
Thomas Kakuska (Viola) | | Date Written | circa 1907 | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 12. Fugue on 2 subjects, in the style of a continuo realization for 2 violins, 2 violas, cello & piano i (3:38) | | Composer | Alban Berg (1885 - 1935) | | Performer | Stefan Litwin (Piano)
Thomas Kakuska (Viola) | | Date Written | circa 1907 | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 | | 13. Adagio for string quartet in F major (2:12) | | Composer | Alban Berg (1885 - 1935) | | Performer | Stefan Litwin (Piano) | | Date Written | 1908 | | Venue | Studio III, Sender Freies Berlin, German | | Recording Date | 01/1994/07/1994 |
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György Kurtág's music has been called a synthesis of Bartók and Webern and that's a pretty apt description. Of course Kurtág is Hungarian and, in his own words "my mother tongue is Bartók," but he is also a contemporary of Ligeti, a pupil of Messiaen and a serialist. Like Webern he aims for intense economy of expression, distilling his ideas into crystal miniatures. Once seen as a reactionary when compared to the wilder 1950s avant-gardists, he has stuck mainly to small chamber works and the serial vocabulary he inherited in the fifties. What he is noted for is a certain kind ...
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Amy X Neuburg's first solo album in 12 years (and five years after Sports! Chips! Booty! by her group Amy X Neuburg & Men) catches her at a creative peak. The exuberant pop side of her albums with the Men has been toned down in favor of a stronger focus on her voice, extensively multi-tracked. If one may miss the cabaret antics of the Men at first, Residue soon turns any feeling of loss into a rediscovery of this singer's amazing voice and seemingly unlimited creativity. The songs on Residue have been conceived for live solo performance. They consist of multiple real-time looping and multi-tracking of voice, keyboard patterns, and electronic percussion rhythms. The writing and delivery still hold ties to the avant cabaret feel of earlier efforts, although this time around Neuburg sticks closer to art song. Laurie Anderson, Anna Homler, and Dagmar Krause often come to mind through the course of this album, but Neuburg weaves her very own world, filled with ironic pop gestures, witty lyrics, and gripping vocal acrobatics. Highlights include the opening "The Tattoo Song," a rich tapestry of vocals consisting of part typical Neuburg avant pop (with a strong Herb Heinz vibe) and part Dies Irae. "Every Little Stain" uses a toothbrush loop for a beat (and it works very well; you might not even notice it). "Life Stepped In" sees Neuburg in a duet with herself over the phone. "My God" combines delicate melodies with harsh passages of a noisy nature. The closing "Residue" is completely a cappella, but the density and cleverness of the vocal loops make it one of the most arranged tracks of the album. Don't mind the absence of the Men; Amy X Neuburg can handle her music on her own. Recommended. ~ François Couture
"Residue" -- Amy's fourth CD -- introduces her new solo music based on her live "avant-cabaret" show for voice, electronic drums and real-time vocal looping. She has created an unusual blend of pop, experimental and classical styles that is at once intimate and seductive, clever and cerebral, intense and wildly virtuosic. Here are some reviews:New York Press"An astonishing array of musical talents...a master with looping/processing electronics... Neuburg wields a phenomenal voice in which one gleans hints of the dominant art singers of our day: Meredith Monk, Bjork, Kate Bush's passion, Laurie Anderson's intimate brilliance... Backdrops of cascading gibberish or frantic chatters are startled by jet engines, ringing phones and abrupt slabs of noise, while Neuburg ranges wide with vocal stylings... Her music melds charm with smarts and power."Milwaukee Journal-Sentinel"I've been listening to Amy X Neuburg's 'Residue'... I think ...
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