When one evaluates Paul Horn's career, it is as if he were two people, pre- and post-1967. In his early days, Horn was an excellent cool-toned altoist and flutist, while later he became a new age flutist whose music is often best used as background music for meditation…
Samuel Barber, one of the most prominent and popular American composers of the mid-20th century, wrote effectively in virtually every genre, including opera, ballet, vocal, choral, keyboard, chamber, and orchestral music. His music is notable for its warmly Romantic lyricism, memorable melodies, and essentially conservative harmonic style, all of which put him at odds with the prevailing modernist aesthetic of his time. Barber was a member of the first class at the Curtis Institute of Music in Philadelphia. In 1928, the 17-year-old Gian Carlo Menotti came to study ……..From Allmusic
…In many ways Dupré may be viewed as a 'Paganini' of the organ - being a virtuoso of the highest order, he contributed extensively to the development of technique (both in his organ music and in his pedagogical works) although, like Paganini, his music is relatively unknown to musicians other than those who play the instrument for which the music was written. A fair and objective critique of his music should take into account the fact that, occasionally, the emphasis on virtuosity and technique can be detrimental to the musical content and substance. However, his more successful works combine this virtuosity with a high degree of musical integrity, qualities found in works such as the Symphonie-Passion, the Chemin de la Croix, the Preludes and Fugues, the Esquisses and Évocation, and the Cortège et Litanie…
"…In many ways Dupré may be viewed as a 'Paganini' of the organ - being a virtuoso of the highest order, he contributed extensively to the development of technique (both in his organ music and in his pedagogical works) although, like Paganini, his music is relatively unknown to musicians other than those who play the instrument for which the music was written. A fair and objective critique of his music should take into account the fact that, occasionally, the emphasis on virtuosity and technique can be detrimental to the musical content and substance. However, his more successful works combine this virtuosity with a high degree of musical integrity, qualities found in works such as the Symphonie-Passion, the Chemin de la Croix, the Preludes and Fugues, the Esquisses and Évocation, and the Cortège et Litanie…" ~wikipedia
Nikolay Andreyevich Roslavets was viewed by his Russian colleagues as one of the most original, innovative and progressive composers of the 1920s. The early works heard on this recording are characterised by passion, drama, mystery, lyricism and a sheer beauty of sound underpinned by that lingering melancholy said to inhabit ‘the Russian soul’. Bulgarian cellist Lachezar Kostov and pianist Viktor Valkov, his long-time collaborator, are ideal interpreters of this brilliantly-crafted music.
Boris Yoffee was born in Russia in 1968. There, he studied violin and composition and before the breakup of the Soviet Union he immigrated to Israel, where he studied at Tel Aviv University. In 1997, he moved to Germany to study composition with Wolfgang Rihm. By 2009, he had amassed an enormous number of short works. Thus, the performers who had been asked to record his Song of Songs looked through approximately 800 of them in order to select the pieces they wanted to perform. The Rosamunde Quartet is a German string quartet that was formed in 1992; since the group disbanded in 2010, this is its last recording. The Hilliard Ensemble is a British male vocal quartet that is well known for its performance of Renaissance, medieval, and contemporary music. It has often performed the works of Arvo Pärt, whose music is somewhat similar to that of Yoffe.
Through his far-reaching endeavors as composer, performer, educator, and ethnomusicolgist, Béla Bartók emerged as one of the most forceful and influential musical personalities of the twentieth century. Born in Nagyszentmiklós, Hungary (now Romania), on March 25, 1881, Bartók began his musical training with piano studies at the age of five, foreshadowing his lifelong affinity for the instrument. Following his graduation from the Royal Academy of Music in 1901 and the composition of his first mature works – most notably, the symphonic poem Kossuth (1903) – Bartók embarked on one of the classic field studies in the history of ethnomusicology. With fellow countryman and composer Zoltán Kodály, he traveled throughout Hungary ……..From Allmusic