Karlheinz Stöckhausen - Gruppen für drei Orchester <Full Score>
Posted By : soloweb |
Date : 06 Nov 2007 18:32 |
Comments : -2
Karlheinz Stöckhausen - Gruppen für drei Orchester
Avant-garde | Universal Edition | PDF | 149 Pages | 15 MB
Gruppen ("Groups") for three orchestras (1955-57) is amongst the best-known works of German composer Karlheinz Stockhausen. In it, a large group of 109 players is divided into three orchestral units, each with its own conductor, which are deployed in a horseshoe shape to the left, front, and right of the audience. The spatial separation was principally motivated by the compositional requirement of keeping simultaneously played yet musically separate passages distinct from one another, but led to some orgiastic passages in which a single musical process passes from one orchestra to another. The title refers to the work's construction in 174 units, mainly composed in what Stockhausen terms "groups"—cohesive groupings of notes unified through one or more common characteristics (dynamics, instrumental color, register, etc.). This category is contrasted with the "punctual" style of early Darmstadt serialism, which nevertheless also occurs in Gruppen, along with a third category of "statistical" swarms or crowds, too dense for the listener to be able to accurately distinguish individual notes or their order of succession.
Andrey Tarkovsky is well represented here at Avax, due to the continuous and highly appreciated efforts of FNB47. Tarkovsky is one of the most influential European filmers, with an enormous impact on various composers as well, of which I foremost would like to mention Luigi Nono. If you've ever watched his movies, you'll understand that Tarkovsky had a clear conception of sound, and that he very well knew what he wanted for his movies, soundwise.
As only the tiniest gesture in return for getting access to the works of Tarkovsky, here are some Tarkovsky soundtracks, that are well worth listening to for their own merits as well. The principal works are again drawn from aporia's library (who is not surprisingly into Tarkovsky as well as I am), complemented with some related releases.
Posted By : SuperK |
Date : 06 Nov 2007 12:33 |
Comments : 5
KOBAT - PIECES FOR PREPARED PIANO
MP3 | 256Kbps | 112Mb Genre: Avant-Garde, minimalism
Debut CD release by Ralf Merten, a new act on Source Records.
Kobat explores the treated piano. This is experimental music which might remind you of Phillip Glass, John Cage, Tom Waits and other musical influences. But it sounds very techno, too. Denying borders between acoustic and electronic music, Kobat could exist as computer sequenced music using synthesised sounds. In fact it is a live performance on an acoustic piano.
Posted By : SuperK |
Date : 06 Nov 2007 12:33 |
Comments : 5
KOBAT - PIECES FOR PREPARED PIANO
MP3 | 256Kbps | 112Mb Genre: Avant-Garde, minimalism
Debut CD release by Ralf Merten, a new act on Source Records.
Kobat explores the treated piano. This is experimental music which might remind you of Phillip Glass, John Cage, Tom Waits and other musical influences. But it sounds very techno, too. Denying borders between acoustic and electronic music, Kobat could exist as computer sequenced music using synthesised sounds. In fact it is a live performance on an acoustic piano.
Posted By : SuperK |
Date : 06 Nov 2007 12:33 |
Comments : 5
KOBAT - PIECES FOR PREPARED PIANO
MP3 | 256Kbps | 112Mb Genre: Avant-Garde, minimalism
Debut CD release by Ralf Merten, a new act on Source Records.
Kobat explores the treated piano. This is experimental music which might remind you of Phillip Glass, John Cage, Tom Waits and other musical influences. But it sounds very techno, too. Denying borders between acoustic and electronic music, Kobat could exist as computer sequenced music using synthesised sounds. In fact it is a live performance on an acoustic piano.
Posted By : SuperK |
Date : 06 Nov 2007 12:33 |
Comments : 5
KOBAT - PIECES FOR PREPARED PIANO
MP3 | 256Kbps | 112Mb Genre: Avant-Garde, minimalism
Debut CD release by Ralf Merten, a new act on Source Records.
Kobat explores the treated piano. This is experimental music which might remind you of Phillip Glass, John Cage, Tom Waits and other musical influences. But it sounds very techno, too. Denying borders between acoustic and electronic music, Kobat could exist as computer sequenced music using synthesised sounds. In fact it is a live performance on an acoustic piano.
listen to this music : it is very beautiful and interesting!
His album Avalon Sutra from 2004 was billed as "Harold Budd's Last Recorded Work" by the record label Samadhi Sound. Their press release continued: "Avalon Sutra brings to a conclusion thirty years of sustained musical activity. Asked for his reasons, Budd says only that he feels that he has said what he has to say. With characteristic humility, he concludes, “I don’t mind disappearing!”"
listen to this music : it is very beautiful and interesting!
His album Avalon Sutra from 2004 was billed as "Harold Budd's Last Recorded Work" by the record label Samadhi Sound. Their press release continued: "Avalon Sutra brings to a conclusion thirty years of sustained musical activity. Asked for his reasons, Budd says only that he feels that he has said what he has to say. With characteristic humility, he concludes, “I don’t mind disappearing!”"
listen to this music : it is very beautiful and interesting!
His album Avalon Sutra from 2004 was billed as "Harold Budd's Last Recorded Work" by the record label Samadhi Sound. Their press release continued: "Avalon Sutra brings to a conclusion thirty years of sustained musical activity. Asked for his reasons, Budd says only that he feels that he has said what he has to say. With characteristic humility, he concludes, “I don’t mind disappearing!”"
Pierre Boulez - Rèpons - Dialogue de l'ombre double (1998)
Posted By : interzone |
Date : 01 Nov 2007 08:42 |
Comments : 10
Pierre Boulez - Rèpons - Dialogue de l'ombre double (1998)
Contemporary | FLAC >>> EAC (APE + CUE) | cover + info | 237 MB Performed by the Ensemble Intercontemporain, with various soloists, conducted by Pierre Boulez.
“
"Written in the mid-1980s, Répons represents Pierre Boulez's first major work after his controversial tenure conducting the New York Philharmonic. It's also a demonstration of how live instruments could be used in conjunction with computer-generated sound. He's been strangely hesitant to record it, which is even more mystifying the more one listens to this new DG release. It's one of the longest uninterrupted spans of music Boulez has ever composed. And while not as provocative as some of his early works, it's a marvel, a forest of sound that one wants to return to again and again.
The live instruments (which include a Hungarian cimbalom) are dominated by richly textured percussion, which doesn't exactly make Répons unmelodic as beyond melody. Initially, the effects seem repetitive--alternating activity and stasis--but what later unfolds is a rich, gratifying, thematically unified exploration of sound with a meticulously planned exposition, development, and recapitulation. The companion piece, Dialogue de l'ombre double, is more modest and in some ways more charming, exploring spatial effects and pedal points between the live and computerized clarinet sound. Those interested in the future of music - both in terms of means and content - must hear this."
David Patrick Stearns (editorial review at amazon.com)
John Cage - 62 Mesostics Re Merce Cunningham (1991)
Posted By : peachfuzz |
Date : 01 Nov 2007 08:40 |
Comments : 8
John Cage: 62 Mesostics Re Merce Cunningham (1991)
Classical | EAC (APE & CUE) | 271 MB Various mirrors: Rapidshare, Depositfiles, Megaupload & more!
"Composing's one thing, performing's another, listening's a third. What can they have to do with one another?" (John Cage) From 1963, John Cage developed a new poetic form that he called the ‘mesostic', in which new words were formed vertically by highlighting one character within each line of the horizontal text. But was Cage ever concerned about the fact that the visual element of his mesostics somehow disappeared when they were presented orally—by speech or song? In the foreword to "I-VI", Cage wrote that the mesostics were "written to be read aloud", yet they were written and published without abandoning the horizontal/vertical relationship between the letters, a relationship that is nowhere to be found when the text is read aloud. Cage doesn't come across as one who would fail to notice such an issue since the visual element appears to have been very important to him, or else "I-VI" would not have had to be published in the shape that it was.
Posted By : interzone |
Date : 01 Nov 2007 08:39 |
Comments : 5
Luciano Berio - Sinfonia - sections I - IV (1970)
Contemporary | vinyl-rip >>> FLAC (24bit/96kHz) & FLAC >>> EAC (APE + CUE) | LP-covers + info | 449 & 129 MB Performed by the Swingle Singers & the New York Philharmonic, conducted by Luciano Berio.
“
"This high quality (24bit/96kHz) vinyl-rip features the world premiere recording of one of the top works of 20th century classical music: Luciano Berio's Sinfonia. It was released in 1970 on the Columbia LP MS7268, and performed by the Swingle Singers and the New York Philharmonic, conducted by Berio. The work consisted of four movements at the time of this recording, a fifth being added later. This particular recording has never been re-released on CD, perhaps because it lacks the last movement of Sinfonia in its final form. That is a great pity, because it is a magnificent recording and performance, and represents the composer's own vision for his work.
The LP from which this transcription was made is in excellent condition, with no surface noise other than the very light pressing noise characteristic of most American LPs. The sound is really astonishing, in large part because of the diverse timbres that Berio produces through his orchestration."
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