For a long time Pierre Boulez has been one of the most important conductors of the 20th century, certainly when it comes to the execution of modern composers such as Berg, Webern, Schönberg or Bartok.
A must for the amateurs of Modern Classical Music
Arnold Schoenberg (1874-1951) was arguably THE pivotal composer who launched the 20th century avant-garde in classical music. Along with his students Alban Berg, Anton Webern, and Hanns Eisler - the Second Vienna School - Schoenberg exploded the late Romantic soundworld and opened up new worlds of possibilities, first with atonal expressionism, and later with the innovative serialist system of composition.
Through the decade of the 1990's, director John Singleton was known best, of course, for 1991's Boyz N the Hood, and his 2001 companion film Baby Boy is a similarly structured urban drama involving the disadvantages and trials of African American black men in urban settings. The film is once again a challenging look at the central themes that Singleton often raises in his projects, and while critics praised his ability to maintain a realistic perspective within the genre, many black audiences were less than pleased about the stereotypical portrayals of gang-tempted blacks in predictable and disappointing situations. Many viewers agreed, however, that Singleton's film presented far more questions than answers. An interesting answer to one question was David Arnold, whose hiring to write the music for the project was considered a curious move by the fans of the composer only familiar with his small body of soundtrack work. The British composer was widely recognized as the composer of several very large-scale orchestral film scores of the 1990's in America, and the last genre that came to mind when most fans thought of Arnold was rhythm & blues. And yet, Arnold's fans should never have been surprised that he could pull it off, because his ability to adapt his talents to several different genres, whether pop, electronica, jazz, or orchestral, is well established.
Igor Stravinsky was one of music's truly epochal innovators; no other composer of the twentieth century exerted such a pervasive influence or dominated his art in the way that Stravinsky did during his seven-decade musical career. Aside from purely technical considerations such as rhythm and harmony, the most important hallmark of Stravinsky's style is, indeed, its changing face.
Franciscus (30 October 1934 – 13 August 2014) was a Dutch conductor, recorder player and baroque flautist.
This is a fine Testament release taken from the archives of Netherlands Radio and enshrines some magnificent Barbirolli performances in somewhat opaque sound. The Satie Gymnopedie's have a delicate and loving sound that reveal Sir John's deep and intrinsic love for the miniaturistic charm of these enchanting pieces. Britten's 'Sinfonia da Requiem' was another Barbirolli speciality and this is one of many recordings available. However it is intriguing to observe the special attention and alertness that the Concertgebouw players impart to the music that takes on an added grandeur. However it is the Dvořák Seventh that is the real highlight of the disc as it is a version to die for! Sir John handles the music with real imagery and heart-on-sleeve emotion that almost rivals Kertész and Sejna, my other preferred versions in this landmark work.
Official Release #39. Having recorded some works with a large orchestra in January 1983, in January 1984, Frank Zappa arranged for some of his chamber works to be performed by Pierre Boulez's Ensemble InterContemporain, a 16-piece group. "The Perfect Stranger," "Naval Aviation In Art?," and "Dupree's Paradise" were given this treatment, and the four remaining tracks are the product of Zappa's music synthesizer, the Synclavier. As usual, Zappa's "serious" works are rhythmically interesting and make for challenging listening.