Karl-Birger Blomdahl studied with Rosenberg from 1935 and took a leading part in the Monday Group, studying Hindemith and the Second Viennese School from the mid-1940s onwards. Within his own music, Hindemith's influence gradually gave way to that of Berg and Bartók, his style remaining vigorous and dynamic.
Alban Maria Johannes Berg is one of the central figures of twentieth century musical composition. As one of the triumvirate of the Second Viennese School, Berg produced a rather small body of work that is nonetheless distinguished by a strongly Romantic aesthetic and a distinctive dramatic sense.
Berg's father was an export salesman, his mother the daughter of the Austrian Imperial jeweler. The young Alban's musical training consisted mainly of piano lessons from his aunt. By his teenage years, however, he had composed dozens of songs without the benefit of formal compositional studies. Berg was a dreamy youth and an indifferent student. In 1903, he endured the end of a passionate (if adolescent) love affair, failed his school finishing exams, and became despondent over the death of his idol, composer Hugo Wolf, all of which ……….
This Ligeti entry in the Deutsch Grammophon (DG) 20th Century Classics series was one of the first Ligeti CDs. It remains a fine single-disc introduction to Ligeti, one of the greatest of late 20th century composers. These works are all from Ligeti's 1960s prime when he was exploring micropolyphony. If you never heard anything else, you would have a good basic sense of what Ligeti's contribution was to the late 20th century avant-garde. Included are "Lux Aeterna," the eerie choral work from 1962, made famous for its inclusion in Kubrick's "2001: A Space Odyssey," and the String Quartet No. 2 from 1968, performed by the LaSalle Quartet. I think the Arditti Quartet surpassed the LaSalles with their Sony recording found in the "Ligeti Edition, Vol. 1," but this version is superb in its own right. The other three pieces are performed by the Ensemble InterContemporain, led by Pierre Boulez – "Ramifications," (1968-1969) "Chamber Concerto" (1970-1971) and the very strange vocal "Aventures" (1962-1965).
A generous and adventurous collection of piano concertos played by the Russian Giant of the Keyboard, Sviatoslav Richter. Next to standard concert repertoire some novelties, like the Franck, Britten, Berg and Hindemith works. Famous conductors like Evgeny Svetlanov, Kyril Kondrashin and the recently deceased Rudolf Barshai (his favourite conductor).
This is a most useful collection. The most important items (and, in fact, the only truly ‘genuine’ chamber works) are the String Quartet and Lyric Suite. The others are arrangements of more than passing interest (at least the ones by Berg himself) but it is probably the two big works that will interest collectors most.
Since she won the seventh International Frederick Chopin Piano Competition in 1965 at the age of 24, this Argentine concert pianist has mostly avoided the limelight; she remains, however, one of the greatest interpreters of classical music.
The popular Orchestra of the Age of Enlightenment presents a fantastic and exuberantly played selection of Vivaldi. Named a ‘Choice' recording by Gramophone upon release, the OAE joyfully celebrate some of Vivaldi's finest instrumental writing. The soloists are drawn from within the distinguished ranks of the OAE including Anthony Robson (oboe), Andrew Clark (horn), Roger Montgomery (horn), David Watkin (cello), Lisa Beznosiuk (flute), Elizabeth Kenny (lute) and Catherine Mackintosh (viola). The concertos assembled on this disc afford the listener a glimpse of Vivaldi's originality, not only as a sensitive colourist and master of form, but also as a felicitous melodist whose harmonies and phraseology are charged with heady atmosphere. The dancing rhythms and distinctive characters of these concerti together with the variety of instrumental combinations and sparkling performances make this a fresh and constantly engaging listen.