Liszt: Organ Works / Nicolas Kynaston CD music. Liner Note Author: Albert Imperato.
Personnel: Martha Argerich , Jean-Marc Luisada, Mikhail Pletnev, ...
Liszt: Organ Works / Nicolas Kynaston album. Track Listing of songs: Sym no.2 in D, op.43: 1. Allegretto; Sym no.2 in D, op.43: 2. Tempo Andante, ma rubato; Sym no.2 in D, op.43: 3. Vivacissimo-; Sym no.2 in D, op.43: 4. Finale. Allegro maderato;
Liszt: Organ Works / Nicolas Kynaston music CDs. In the second of three volumes, Hat continues its investigations into the works of the composers who, along with the poets and painters of their era (everyone from Jackson Pollock, Philip Guston, Mark Rothko, Robert Rauschenberg, to Frank O' Hara, Kenneth Koch, John Ashbery, and others), created an aesthetic approach to art that is now known as (given history's obsession with classification) the New York School. The earliest piece here is by Feldman, his Intersection No. 2 from 1951 for piano, played beautifully by Steffen Schleiermacher. Here the chord structures -- notated on graph paper -- illumine a particular de-centering of harmony as it occurs in time. It resembles a later work, "Spring of Chosroes," in that upper-register single notes played in twos and threes follow each chord and series of chords dynamically. The latest work is by Cage, from 1987, entitled "Composed Improvisation" for percussion and where nothing in the score is registered, save for duration and dynamics -- even the instruments are detailed. Jan Williams uses all manner of percussion's little instruments and a trap kit to play the score. Also noteworthy are the works from Earle Brown, perhaps the most formal of all his colleagues. All of his works on this disc are from the 1950s, all obsessed with freeing the performer within the composition -- this does not mean improvisation -- and the composition from the framework of formal musical structure and notation. Most notable is the "Octet 1" from 1952/1953, which are compositions for tape, long before they occurred to Karlheinz Stockhausen. They are "played": here by Eberhard Blum on flutes and manipulated sound objects as well as by fragmentary percussion and piano, strung together, sped up and slowed down, spindled, mutilated, and even burned onto a final master which is "played" according the to measures and dynamic instructions written in Brown's score, which has no time signature, no meter, or timbres visible. The version of "4 Systems" here, from 1954, is performed not only on flutes (Blum recorded an ...
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