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Gloria Cheng-Cochran - Piano Music of John Adams and Terry Riley (1998)

Posted By: Designol
Gloria Cheng-Cochran - Piano Music of John Adams and Terry Riley (1998)

Gloria Cheng-Cochran - Piano Music of John Adams and Terry Riley (1998)
EAC | FLAC | Image (Cue&Log) ~ 215 Mb | Mp3 (CBR320) ~ 185 Mb | Scans included
Classical, Contenporary, Minimalism | Label: Telarc | # CD-80513 | Time: 01:08:09

This unique recording couples the music of two major 20th-century composers, and includes the world premiere on disc of Riley's "The Heaven Ladder, Book 7," commissioned by Cheng-Cochran and written in 1994. California-based pianist Gloria Cheng has become a favoured collaborator with some of the most demanding of today's composer/conductors, including Pierre Boulez, Essa-Pekka Salonen and Oliver Knussen, for her renditions of thorny 20th century scores. "The multifarious pulsings of Adams's Phrygian Gates (all 26 minutes of it) are more palatable here than on some rival versions, and the relatively brief China Gates (just five minutes) are well worth visiting. Terry Riley's pieces are more varied in colour and rhythm, less obviously 'minimalist', than you might have expected, with the worlds of jazz remaining well within earshot. Gloria Cheng-Cochran seems fully absorbed in the tasks to hand, and the sound is superb." (Gramophone Magazine).

Maria Kliegel, Elsbeth Moser, Kathrin Rabus, Camerata Transsylvanica - Gubaidulina: Seven Words, Silenzio, In Croce (1995)

Posted By: tirexiss
Maria Kliegel, Elsbeth Moser, Kathrin Rabus, Camerata Transsylvanica - Gubaidulina: Seven Words, Silenzio, In Croce (1995)

Maria Kliegel, Elsbeth Moser, Kathrin Rabus, Camerata Transsylvanica - Gubaidulina: Seven Words, Silenzio, In Croce (1995)
EAC | FLAC (image+.cue, log) | Covers Included | 01:07:26 | 259 MB
Genre: Classical | Label: Naxos | Catalog: 8.553557

This collection is one with which a love/hate relationship is nearly inevitable. To really listen to this music requires energic concentration - you'll be emotionally exhausted. On the other hand, other than the first piece "In croce", you may put the music on and continue about your other work - treating it almost as ambience. While Gubaidulina has obviously been influence by chromaticism, and her choice of instruments, bayan, reflects her background Turkic Russian, she writes with a firm independence. The cello, bayan and strings are used in a way that make you think this is exactly the correct instrumentation - even after reading that "In croce" originally used an organ.