Telemann / Heidelberger Kammer - Konzerte & Konzertante - COMPACT DISCS [CD]

Besides various intangible elements - a balance of physical and metaphysical properties of Saed Haddad Inchgood musicInch needs. The former he counts beauty, power, magic, power, virtuosity, etc.; in the second category are elusive concepts the existential, the spiritual and the transcendental. The works on this CD come from two different marked by compositional practice periods. In the first period from 2004 to 2006 Haddad sought a synthesis of Arabic and Western music - without the usual Western mesh as tourism, exoticism or some form of abstraction. The aim was a real, existential and transcendental integration, not a juxtaposition or even constraints of a tradition on the other. More recently, since 2007, prefers to always questioning composers continued increasingly from a direct, existential contact with Arab culture. Album Tracks 1. Le Contredesir 2. On Love I for Qanun and Ensemble - Bassm Al Khouri/Ensemble Modern 3. On Love II for Piano and Ensemble - Ensemble Modern 4. Les Deux Visages de L'orient 5. Etudes Mysterieuses 6. The Sublime

This Wergo recording features two of Sofia Gubaidulina's works from the late 1970s/early 1980s that see her establishing a mature style after years of journeyman efforts. The titles of the works point to the Russian composer's deep religious belief, and while there is no text in these purely instrumental works, the spirit of contemplation and wrestling with spiritual questions persists throughout. The pieces are centered around cello and accordion, played here by Julius Berger and Stefan Hussong respectively. InchIn CroceInch was originally written in 1979 as a piece for organ and cello, but it is represented here in a 1991 arrangement for cello and accordion by Elsbeth Moser which Gubaidulina has approved. As it's title suggests, this is an exploration of InchverticalInch music (the organ or accordion) intersected by the InchhorizontalInch (cello). The work is a steady slow of eerie chords from the accordion with the sinuous, yearning voice of the cello threading through them. While the first half of the work offers a feeling of stasis with the occasional outburst, the second half offers a suspenseful, gradually rising development. The work draws to a close with the cello playing harmonics by which the music seems to evaporate. The Kammerorchester Diagonal conducted by Florian Rosensteiner joins in for the next piece. InchSieben Worte (Seven Words)Inch for cello, bayan, and strings is a depiction of Jesus' death on the cross in the venerable classical tradition started by Heinrich Schütz (whom Gubaidulina subtly quotes at one point). Gubaidulina was attracted to writing for the accordion because it has a very living quality to it, it InchbreathesInch, and here the instrument depicts the gradual dying of breath. This is one of Gubaidulina's best pieces, the seven movements offering a variety of textures - even a tragic subject like the crucifixion can still be painted

Album Tracks 1. Festouvertüre FÜR Orchester 2. Dritte Sinfonie 3. Hölderlinfragmente I - V. Musik FÜR Großes Orchester Nach Worten Friedrich Hölderlins