…Whatever reservations one might harbor about this or that individual performance, it is unlikely that this set as a whole will be surpassed in the near future. It belongs in every serious music library, private or public.
If you are only ever going to listen to one disc of the music of Anton Webern, make it this one. It has more of his appealing orchestral music on it than any other disc. There is the Passacaglia, Op. 1 - the finale of Brahms Fourth meets the finale of Mahler's Sixth. There is the Movements (5), Op. 5 - angular, aggressive, and rapturous. There is the Pieces (6), Op. 6 - tender, mysterious, and tragic. There is his pointillistic orchestration of Bach's Ricercar a 6 voci - cool dots of color illuminating a mathematical proof. There is his affectionate orchestration of Schubert's German Dances - lightly lyrical peasant dances done with loving care. There is even his Im Sommerwind - a Romantic tone poem describing his trysts in the Austrian alps.
Recorder virtuoso Erik Bosgraaf (b. 1980) was personally granted permission to arrange for recorder Boulez' (1925-2016) Dialogue de l'ombre double, originally for clarinet and electronics. ...The result is a dynamic interplay between Bosgraaf's recorder and the fascinating electronic timbres and colours. The second work on this release is a musical dialogue between Bosgraaf and electronic wizard Jorrit Tamminga (b. 1973), creating unheard-of sounds of the recorder interwoven in electronic sound tapestries.
This is [the stereo version of] the 8-channel tape of electronic music in TUESDAY from LIGHT, and plays through the entire second act, INVASION – EXPLOSION with FAREWELL (about 74 min.), including a stereo bridge in PIETA. The stereo bridge is omitted when OKTOPHONIE is performed as such, and the duration of the work then is about 69 min. (as it is also presented on the CD).