Whether for its historical associations or its sonic possibilities, the piano has featured prominently at all stages of Maurizio Kagel’s career. This collection gathers together most of his piano compositions: as so often with Kagel, the medium in itself does not constitute a generic body of work so much as music for one particular ‘sound source’ out of many.
The third album from Trio Image follows the success of their releases of the Piano Trio by Mauricio Kagel and Chamber music by Hans Sommer. The new album consists partly of world premiere recordings of unknown repertoire.
The legendary DG Avantgarde vinyl series (1968-1971) is turning 55! In order to celebrate this occasion, the series is now released on 21 CDs for the first time. The Avantgarde series serves as a historical document for a time of radical change in musical thinking and the breaking of artistic boundaries. The question "What is music?" confronted many of the composers and musicians involved in the series, and the anti-authoritarian spirit of the 1960s and 1970s was a palpable influence. Deutsche Grammophon's Avantgarde Series reflects all the currents that thus arose, without aesthetic demarcations and across genres and instrumentations: large orchestral works stand alongside chamber music and solo forms, electronic music and improvisations.
The Amsterdam-based Schoenberg Ensemble ranks alongside the London Sinfonietta, the Ensemble Modern from Frankfurt and Ensemble Intercontemporain in Paris as one of Europe's most distinguished new-music groups. What began in 1974 when seven student instrumentalists got together with their teacher, Reinbert de Leeuw, to perform Schoenberg's Pierrot Lunaire has steadily diversified. At first, the group concentrated on the music of the Second Viennese School, but gradually its scope expanded: now the Schoenberg Ensemble has a core lineup of 14 musicians and a repertoire that stretches from the beginning of the 20th century to the present day.
It starts, appropriately enough, with Charles Ives's The Unanswered Question, which seems to hold its breath, and occasionally exhale in brief bursts of panic, as the new century unfolds. It ends with Dmitri Shostakovich's Chamber Symphony Op. 110a (based on his String Quartet No. 8), whose alternating sequences of anguish, alarm, and derision come as close as possible for absolute music to indicting its bloody history - eight CDs and over 30 works later.