Over the past four decades, the Arditti Quartet have collaborated with almost all the great composers of our time, many of whom, from Elliott Carter to Karlheinz Stockhausen, Giacinto Scelsi to Harrison Birtwistle, have written pieces specifically for the group. But none of the Ardittis' associations have been as long-lasting and productive as that with Brian Ferneyhough. Since they gave the first performance of his Second String Quartet in 1980, Ferneyhough has ……..Andrew Clements @ The Guardian
"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…"
Rudolf Buchbinder is firmly established as one of the most important pianists on the international scene, he is a regular guest of such renowned orchestras as the Berlin Philharmonic, Vienna Philharmonic, New York Philharmonic, Orchestre National de France, London Philharmonic, National Symphony, and the Philadelphia Orchestra. He has collaborated with the world’s most distinguished conductors including Abbado, Dohnányi, Dudamel, Frühbeck de Burgos, Giulini, Harnoncourt, Maazel, Masur, Mehta, Saraste, Sawallisch and Thielemann and is a regular guest at the Salzburger Festspiele and other major festivals around the world.
Quadrivium was composed in 1969 and marks the beginning of Maderna’s final creative period, during which he wrote impressive and headstrong works for large symphonic forces. Aura was commissioned for the 80th anniversary of the Chicago Symphony Orchestra and was premiered in 1972. Amanda was written in 1966 and is uninhibited, cheerful and lyrical.
John Cage’s innovative work and unorthodox ideas profoundly affected Western music during the latter half of the 20th century, and this second of two volumes (volume 1 can be heard on Naxos 8.559773) concludes Katrin Zenz’s survey of his complete works for flute. The earlier chromatic compositions include an astonishing variety of playing techniques and a bewildering rhythmic complexity, while the elements of chance in the later works result in music that is always undergoing kaleidoscopic processes at once arbitrary and intensely focussed in form and expression.