"…Im Klang…," the composition originally written for accordion, makes its recorded debut here in two versions. They are separated by "Klavierstuck '87," performed by the truly gifted Marianne Schroeder. The reason for the two performances is a mechanical one: When Stiebler was going over the score with Teodoro Anzellotti, Anzellotti noted that the accordion (though certainly capable of playing everything) was not capable of making all of it audible – hence the work for organ as well…
Born in 1960, Pierluigi Billone lives in Milan and is one of today's leading avant-garde Italian composers. He studied with Salvatore Sciarrino and Helmut Lachenmann and has been composer-in-residence at the Hamburg State Opera. Much of his career has been spent in Germany. He was winner of the Composition Award of the city of Stuttgart in 1992 and of the Busoni Compostion Award in 1997. He also received the Heinrich Strobel Scholarship in 1995, and the Bank of Austria Compostion Prize in 2003. A teacher and performer as well as composer, he has participated in numerous concerts as a guitarist. His music has frequently been performed at the Donaueschinger Festival and other venues. He has developed an individual brand of musique concrete instrumentale, or instrumental theater.
Christoph Eschenbach conducts this generous survey of the sumptuous, hyper-Romantic music of Austrian composer Franz Schreker. Not only was he the pre-eminent opera composer of his generation, he also, says Eschenbach, “took Mahler’s symphonic writing to a whole new level”. The album includes the ecstatic “Nachtstück” from Der ferne Klang, the exquisite Chamber Symphony and some ravishing orchestral songs, featuring Chen Reiss and Matthias Goerne.
Since 1991, a complete edition of all recordings in which Karlheinz Stockhausen has personally participated is being released on compact discs. Each CD in this series is identified by Stockhausen's signature followed by an encircled number. The numbers indicate the general historical order of the works. Stockhausen realised the electronic music and participated in these recordings as conductor, performer, sound projectionist, and musical director. He personally mixed down the recordings, mastered them for CDs, wrote the texts and drew the covers.
These singers harmonize through mysterious songs about strange and ordinary, things–through beautiful female lead singing, with fascinating percussion and horn background, and bass that is perfect to balance the variety of harmonies. This is not like Manhattan Transfer, no, it is more personal, more immediate. The impression is latin and contemplative, while being no-nonsense and straightforward in expression. It is a wonderful mix of the familiar and the unfamiliar, the new and the understandable.