Siegfried Palm

The name of Bernd Alois Zimmermann is probably not a very familiar one to the experimental classical music listener. As this top-notch disc shows, Zimmermann's music was (and still is) strikingly original. It begins with his Cello Concerto in the form of a pas de trois, from the mid 1960s, a five-movement work that exploits to the fullest the solo cello as well as the unusual accompanying orchestra, which includes alto saxophone, contrabass tuba, electric guitar, prepared piano, glass harp, and even cimbalom.

Taco Kooistra - Ladder of Escape 6 (1993) {Attacca Babel 9369-1}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 219 Mb | MP3 @320 -> 142 Mb
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© 1993 Attacca | BABEL 9369-1 DDD
Classical / Contemporary Classical / Avant-Garde / Modern Composition / Cello

The CD series Ladder of Escape from Attacca shows musicians trying to go beyond the limits of their instrument. But listening to the sixth CD in the series, on which cellist Taco Kooistra plays works by Penderecki, Straesser, Lutoslawski, Kergomard, Lachenmann, Chin and Gehlhaar, you wonder what exactly the limitations of the cello are. After all, the image of dark-brown music in which sadness and consolation go hand in hand comes from the romantic tradition.

Alexandra Netzhold has been captivating audiences all over the world for over two decades now. She is seen as one of the most enthusiastic promoters of classical music. The Magazine “Paris Actualités Musique“ attests „fantastic skill with musical fire” and is impressed by her “profound and varied artistic expression”.

Hans Werner Henze - The Complete Deutsche Grammophon Recordings (2013) {Deutsche Grammophon 4791522}
FLAC (tracks) - 16bit/44.1kHz - Official Digital Download -> 4.69 Gb | MP3 @320 -> 2.49 Gb
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© 2013 Deutsche Grammophon | 4791522
Classical / Contemporary Classical / Modern Classical

The composers who made the most decisive contribution to the development of post-war music in Europe were all born in the 1920s: Stockhausen, Boulez, Nono, Berio and Ligeti, to name but five. Shortly after the end of the Second World War, at a time when half of Europe still lay in ruins, they began to look for the basis of a new kind of music freed from the fatal legacy of the past. But few of them reacted as directly or as sensitively to the catastrophe of the National Socialist period as did Hans Werner Henze. And this was true of him both as an artist and as a human being.