Known particularly for his orchestral output 16 symphonies and 21 concertos to date! the Finnish composer Kalevi Aho was recently described in Gramophone as having a strong claim to the title of greatest living symphonist. But as followers of the ongoing releases of his music on BIS will know, Aho has also composed a large number of works for smaller forces quartets and quintets, duos and solo pieces. On the present disc, the Finnish pianist Sonja Fräki presents his output for solo piano, comfortably fitting on one disc, but nevertheless spanning some 30 years of a long career.
Hello buddies! Here you are a OOP cd with several concertos by the enigmatic german composer Bernd Alois Zimmermann by performers who met him in life like Gielen, who was as a great champion of his music. Enjoy!!
…Writing of the chamber music of Friedrich Kiel, the famous scholar and critic Wilhelm Altmann notes that it was Kiel’s extreme modesty which kept him and his exceptional works from receiving the consideration they deserved. After mentioning Johannes Brahms and others, Altmann writes, “He produced a number of chamber works, which . . . need fear no comparison.”…
“Presenting Friedrich Kiel“. Hans Zentgraf’s MDG recordings have brought this cellist critical acclaim. These recordings include “an interpretation of the Bach suites compelling for its independent angle“ and a Reger CD representing” a high-level, tonally beautiful new recording.“ (FonoForum)
"The grande dame of French organists, Marie-Claire Alain recorded the complete organ music of Bach not once, not twice, but three times. This collection is the third recording, made in the late '80s and early '90s, and recorded digitally by Erato. For this version, Alain had access to restored, historic organs, including some that Bach himself would have played…"
Italian composer and organist Bernardo Storace was the assistant music director of the senate in the city of Messina in the second half of the seventeenth century. Here, Jörg Halubek, a young organist who won the first prize in organ at the International Bach Competition in Leipzig in 2004, plays a selection from Storace’s variations on well-known dances and melodies of the time.
The organ is ideally suited to Cage’s aesthetic — its multitude of stops make it the ultimate prepared instrument. The fact that sound emanates from a number of pipes placed at discrete locations in space nicely accords with Cage’s idea of the separation of sounds in space. And it represents vast possibilities that could be released as sound through the use of chance operations. For this reason Cage’s organ music occupies a small but quite important place within his output.