Martin Klett - In Rhythm - COMPACT DISCS [CD]

The session notes for the 1974 recording show that Fantasias Nos. 1-5 were recorded on Monday, 26 August; Fantasias 7-12 on Tuesday, 27 August, followed by a day without recording. Fantasia No. 6 was recorded on Thursday, 29 August 1974. In these early days, it was Nimbus' practice to assemble masters quickly after recording, and given the founders' fierce commitment to 'unedited' takes, it is a reasonable bet that the master was assembled from the best whole takes of each movement. Scribbled words on the last page of the session notes suggest future possibilities Tartini 24 Sonatas, Boccherini Quartets and Quintets with a 'very, very good pupil' for 2nd violin and 'Amo' (Fleming) on cello. Alas, it never happened. Apart from the Recording Agreement itself, there is no general correspondence in the Nimbus archive to explain how Maurice Clare found himself at Nimbus' Birmingham studio, nor why Telemann was the chosen repertoire. It is intriguing that Maurice's signature on the Agreement dated 24 April 1975 (interestingly eight months after the recording session) is witnessed by Ida G. Carroll-the celebrated principal of Manchester's Northern School of Music. In 1973, she was a key player in the amalgamation of Manchester's two music schools into the Royal Northern College of Music and served as it's first Dean of Management until 1976.© Adrian Farmer

Claude Debussy is often labeled as a musical Impressionist. It is misleading to do so, however, since Debussy was not truly associated with the visual artists who belonged to that current. Instead, he viewed himself as an adept of Symbolism, as one can tell from his choice of texts for musical settings and from his opera Pelléas et Mélisande; he eventually turned against the association of music with imagery. In his two volumes of Préludes, the subjects or poetic descriptions were not featured as titles, but appeared in brackets at the end of each piece - more like subtitles than titles. Thus, the Préludes hark back to previous milestones in the genre in the preludes of Bach and Chopin, the center of attention had not been musical illustration, but the keyboard per se... The aspect of magic in sound is not only prominent in Debussy's cycle of préludes, but also in another cycle Makrokosmos, which American composer George Crumb started to write in 1972. Makrokosmos eventually grew to four volumes and acquired legendary status. The first two volumes are for solo piano; Vols. 3 and 4 are for two pianos and percussion, viz. For piano four hands, respectively. Contemporary modes of execution are prominent in all four volumes, including tapping and knocking on the piano frame, or scraping the strings. Transformation of timbre is an essential element for Crumb, who had alchemy in mind. Aspects of the occult are prominent in the first volume, which is devoted to the signs of the zodiac - not in terms of astronomy, but of astrology, i.e. The influence of zodiac signs on a person's development and character. Crumb's Makrokosmos is thus likewise a collection of character pieces such as the more Romantic ones Schumann wrote for piano in the19th century.

Martin Klett - Short Stories [COMPACT DISCS] date 04/07/2017