 Back to home page | | |
|
This listing has ended. The seller has relisted this item or one like this. Item:ROBERT EICKSON ~ HARVEY SOLLBERGER ~ AMERICAN CHAMBER |
|
|
) 
Print
Report item
| |||||||||||||||||||||||
Detailed item info
 All rights reserved. | ||||||||||||||||||||
WORKS BY
*ROBERT ERICKSON
*HARVEY SOLLBERGER
*PETER WESTERGAARD
*PHILLIP RHODES
*EDWIN DUGGER
~~~~~~~~~~~~
MUSICIANS
*Paul Zukofsky ~ violin
*Robert Sylvester ~ cello *David Gilbert ~ flute *Thomas Nyfenger ~ flute *Harvey Sollberger ~ flute *Sophie Sollberger ~ flute *Stuart Demster ~ trombone *Lawrence Dwyer ~ trombone *Frank Harmantas ~ trombone *Lynn Newton ~ trombone *Paul Vander Gheynst ~ trombone *The Group Of Contemporary Music at Columbia University: *Sophie Sollberger ~ flute & piccolo *Jack Kreielman ~ clarinet & bass clarinet *Raymond DesRoches ~ percusssion *Jeanne Banjamin ~ violin *Fred Sherry ~ cello *Harvey Sollberger ~ conductor *Robert DiDomenica ~ flute & piccolo *Peter Bowman ~ oboe *William Wrzesien ~ clarinet *Max Winder ~ violin *Bernard Kadinoff ~ violin *Stephen Geber ~ cello *Charles Kiefer ~ tape *David Epstein ~ conductor ~~~~~~~~~~~~~~~~~~~ CD IS NEW ~ SEALED ~ NOTCH IN SPINE ~ 1999 EDITION ~ LABEL: NEW WORLD RECORDS
~~~~~~~~~~~~~~~~~~~
ALL ITEMS ARE DESCRIBED WITH INTEGRITY
Pay only $1.50 shipping
for each additional item!
(Domestic (USA) orders only)
(media mail on combined shipments) TRACKS
PHILLIP RHODES (b. 1940)
1. Duo for Violin and Cello ~ 12:43
I. Introduction & Fugue, Cadenza (violin)
II. Aria, Cadenza (cello)
III. March (with "Trio"), Coda
Paul Zukofsky ~ violin
Robert Sylvester ~ cello
HARVEY SOLLBERGER (B. 1938)
2. Grand Quartet for 4 Flutes ~ 7:56
David Gilbert ~ flute Thomas Nyfenger ~ flute
Harvey Sollberger ~ flute
Sophie Sollberger ~ flute
ROBERT ERICKSON (1912 - 1997)
3. Ricercar à 5 for 5 Trombones ~ 12:39
Stuart Demster ~ trombone
Lawrence Dwyer ~ trombone
Frank Harmantas ~ trombone
Lynn Newton ~ trombone
Paul Vander Gheynst ~ trombone
PETER WESTERGAARD (b. 1931)
4. Variations for 6 Players ~ 9:15 The Group Of Contemporary Music at Columbia University:
Sophie Sollberger ~ flute & piccolo
Jack Kreielman ~ clarinet & bass clarinet
Raymond DesRoches ~ percusssion
Jeanne Banjamin ~ violin
Fred Sherry ~ cello
Harvey Sollberger ~ conductor
EDWIN DUGGER (b. 1940)
5. Music for Synthesizer and 6 Instruments ~ 6:58 Robert DiDomenica ~ flute & piccolo
Peter Bowman ~ oboe
William Wrzesien ~ clarinet
Max Winder ~ violin
Bernard Kadinoff ~ violin
Stephen Geber ~ cello
Charles Kiefer ~ tape
David Epstein ~ conductor
TOTAL PLAYING TIME ~ 49:55
~~~~~~~~~~~~~~
COMMENT
Great Works
I am a classical musician (violin) and if you have any background in modern classical music the names here speak for themselves. This is a wonderful collection of music performed in an excellent manner. The recording quality is superb and all the pieces are interesting and fulfilling. Sylvester is a master in interpretation. A real trip in itself. You'll enjoy this I'm sure. Intelligent music at its best. FROM THE LINER NOTES
From refined formality to unpredictable unruliness, the character of the pieces in this recording illustrates the wide range of expression in American concert music of the 1960s. An emphasis on timbre and texture, a rigorous sense of form, and a demand for performer virtuosity characterize all five of these works. Otherwise, they explore strikingly diverse terrains. Phillip Rhodes’s Duo for Violin and Cello is an exploration of timbral eccentricities and special effects. Currently teaching at Carleton College in Northfield, Minnesota, Rhodes was a student of Iain Hamilton, Donald Martino, and Mel Powell. The Duo emphasizes classical structure, moving from an introduction to a fugue, aria, cadenza, march (with trio), and coda. In contrast to the rapturous neo-Romanticism of Rhodes’s larger, later, tonal works such as Visions of Remembrance, the Duo is nontonal, compact, and sharply focused—at least in its opening sections. Fierce accretions of energy followed by sudden disintegrations constitute the basic drama in the piece before its drift toward a more lyrical discourse and a serene close. Harvey Sollberger describes his meticulously patterned Grand Quartet for Flutes, from 1962, as “dedicated to the memory of the German-Danish flutist-composer of the last century, Friedrich Kuhlau. The dedication of my quartet is my way of thanking the shade of Kuhlau for the pleasure his works have afforded me over the many years that I have played the flute.” Cofounder of the Group for Contemporary Music, a professor of music at the University of California at San Diego, and an active performer of new music, Sollberger invests his brief but multi-layered Grand Quartet with all manner of adventurous as well as traditional flute devices, including piercing trills, long chords, sudden melodic leaps, and rapidly alternating single notes. Like composers in the earlier period whom his Quartet recalls, Sollberger is intimately connected with his own music through his career as a performer. A distinguished flutist and conductor, he is an important initiator of a mid-century trend toward separating contemporary music ensembles—those comfortable with the unusual demands of the music—from the traditional concert world. Not surprisingly, he is one of the virtuoso players in the present performance. A dramatic contrast to both works is the wildly expressionistic Ricercar a 5 for Trombones, written in 1966 by Robert Erickson. Born in Marquette, Michigan, Erickson was a student of Ernest Krenek and, like Sollberger, was a professor of music at the University of California at San Diego, where he taught until his death in 1997. As its title indicates, this work, written for Stuart Dempster (who is part of the trombone quintet in this recording) uses Baroque imitation among its five voices. It is a sonic adventure that revs up like multiple motorcycles—spitting, growling, whining, and finally, whispering. The five trombonists are required to sing, whistle, and bang as they play punishing fanfares, slides, and other devices. Their multiple trombone sonority has a sexy raspiness. Erickson’s dark, multilayered polyphony conveys a powerful sense of mystery similar to the soundworld of Ligeti or Xenakis. This piece is avant-garde in the old sense—tough and challenging, but mischievous and fun. A more delicate aesthetic whispers through Peter Westergaard’s 1963 Variations for Six Players. Westergaard is the William Schubael Conant Professor of Music at Princeton University. He studied with a formidable group of teachers, including Walter Piston at Harvard, Darius Milhaud at the Paris Conservatoire, Roger Sessions at Princeton, and Wolfgang Fortner in Germany. The lonely cello sigh announcing the lyrical theme at the beginning of the Variations recalls none of these, however, so much as the haunting stillness of Webern. The second movement, full of agitated repeating notes, is a lively contrast. Throughout the first two movements, woodwinds, pizzicato pluckings, timpani blows, and chimes weave subtle transformations of the cello melody, often dispersing the tune, one note per instrument. Westergaard’s penchant for “sonority matching” is apparent in a match-up of piano sound dampened by a finger on the string, timpani played with a soft-stick attack, and a low, non-vibrato clarinet. In the finale, the variations float by in a ghostly procession of expanding chords that are actually polyphonic lines sounding together. Edwin Dugger’s 1966 Music for Synthesizer and Six Instruments represents another development of the sixties avant-garde, experiments in electronic sound. As computers and synthesizers increasingly dominate pop idioms—often with a mechanical, homogenizing effect—it is useful to recall their poetic, largely unrealized potential. As a colorful example of their unresolved status in the past, Dugger’s piece raises tantalizing questions: Is electronic sound the music of the future, or is it all too often, in Pierre Boulez’s phrase, the music of science fiction? Do synthesizers constitute, as Edgard Varèse hoped, new materials for a new music, or do they merely enhance traditional ensembles with an illusion of revolutionary novelty? Dugger’s Music for Synthesizer and Six Instruments plays with all these possibilities. As with the other works on this recording, instruments imitate and blend into each other, distributing among themselves individual notes in the melodic line—yet the electronic element creates a different sound and sensibility. In the first movement, the instruments and synthesizer act independently, alternating in an antiphonal pattern that emphasizes the independence of each. Only in a single tutti shortly before the end do the two forces come together. In the somber second movement, the synthesizer and six instruments play simultaneously, reinforcing their similarities, teasing the ear into deciding just where electronic music ends and acoustic begins. In the finale, an elaborate cadenza for synthesizer alone steals the show. The expressive content is similarly varied: hisses, squawks, and gurgles—the loopy “science fiction” sound associated with electronic music—gradually elongate into a more chordal, lyrical discourse. A final sigh from the strings ends the music on a note of quiet mystery. Indeed, most of these richly varied pieces move from agitation and aggression toward meditative repose. The listener’s challenge, dealing with something new and difficult, is rewarded. Stay with the bumpy ride, these pieces seem to urge: We’ll let you down gently at the end. —Jack Sullivan ~~~~
| ||||||||||||||||||||||||||||
Shipping and handling $1.50 shipping for each additional eligible item you buy from wordsandmusicbuy. Item location: DU BOIS, PA, United States Shipping to: Worldwide
*The estimated delivery time is based on the seller's handling time, the shipping service selected, and when the seller receives cleared payment. Sellers are not responsible for shipping service transit times. Transit times may vary, particularly during peak periods.
| ||||||||||||||
Return policy
| |
Payment details
Seller's payment instructions | ||||||
and your Seller assumes all responsibility for this listing.
Back to home page | See More Details about "American Chamber Music From The Sixties - Rhodes, et al..." | Sell one like thisReturn to top
eBay Pulse | eBay Reviews | eBay Stores | Austria | France | Germany | Italy | Spain | United Kingdom | Popular Searches | New Pulse
 About eBay | Announcements | Security Center | Resolution Center | eBay Toolbar | Policies | Government Relations | Site Map | Help | |
Copyright © 1995-2009 eBay Inc. All Rights Reserved. Designated trademarks and brands are the property of their respective owners. Use of this Web site constitutes acceptance of the eBay User Agreement and Privacy Policy.
| |