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Bruckner / Horenstein / Lso - Bruckner: Symphony No 8 & 9 / Horenstein, Lso, BBC So CD Cover Art

Bruckner: Symphony No 8 & 9 / Horenstein, Lso, BBC So CD

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Category Classical, Live Performances, Romantic Period, Orchestral/Symphonic, Symphony
Horenstein
Bruckner: Symphony No 8 & 9 / Horenstein, Lso, BBC So Music


Detailed Bruckner: Symphony No 8 & 9 / Horenstein, Lso, BBC So Music Information



Label BBC Legends
All Time Sales Rank   14494  
CD Universe Part number 1221662
Catalog number 4017
Discs 2
Release Date May 18, 1999
Mono/Stereo Stereo
Recording Time 1 6
Bruckner: Symphony No 8 & 9 / Horenstein, Lso, BBC So Review


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The six 12th-century women's convents nestled on Lüneburg Heath in Northern Germany are treasure troves of hitherto unexplored medieval music manuscripts. Ulrike Volkhardt, the director of the specialist Ensemble Devotio moderna, in conjunction with music historian Ulrike Hascher-Burger, has undertaken a thorough examination of the convent archives, and the fruits of their labors form a series on the Cantate label. Bringing this music to life is a painstaking but enthralling process. Not only was the music transcribed and the instrumentation construed, but some of the instruments had to be reconstructed, reproducing--or at least approximating--sounds not heard for hundreds of years. The result is sweetly introspective music, principally from the 13th to the 16th centuries, that in its gentle simplicity belies the arduous nature of its rebirth. Includes super flumina babylonis. Ensemble: Devotio moderna.
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Mention "minimalism" and certain names will pop up, both within and outside of the classical world: Terry Riley, Steve Reich, John Adams. The most famous one, however, would be Philip Glass. Unlike most 20th Century composers, Glass has reached far beyond the concert hall: his work includes film soundtracks (THE TRUMAN SHOW, THE THIN BLUE LINE), multimedia presentations ('1000 Airplanes on the Roof"), and collaborations with pop/rock writers/performers (his SONGS FOR LIQUID DAYS album). With SOLO PIANO, Glass presents himself "unplugged" - no electronic keyboards or synthesizers, and no overdubs, either - just solo piano. Here, Glass' connection to the established "classical" tradition is most evident. Though his pieces are "minimal" (subtly altered repeated patterns or melodic motifs), yet they have an unsentimental beauty and heartfelt grace that one would hear in J.S. Bach's English Suites, as well as the piano music of Chopin and Erik Satie. Portions of the suite 'Metamorphosis' are based on Glass' score for THE THIN BLUE LINE; these short pieces are forlornly entrancing without being drippy or "trance-like." The finale, 'Wichita Sutra Vortex,' is a uniquely and quintessentially "American" piece. It draws upon gospel music in the same way Ives and Copland drew from the well of American folk tunes, but where those composers worked in ironic portions or references to the tunes, Glass absorbs the deep feeling and tones of gospel, without recalling any particular song. Both Glass fans and minimalist neophytes should hear this. Live Recording
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