Alfred Schnittke – The Ten Symphonies (2009)

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Las 10 sinfonias de Schnittke en la nueva edicion de BIS que reune a la Royal Stockholm Philharmonic Orchestra, BBC National Orchestra of Wales, Gothenburg Symphony Orchestra, Norrköping Symphony Orchestra y Cape Philharmonic Orchestra bajo la direccion de Leif Segerstam, Eri Klas, Tadaaki Otaka, Okka Kamu, Neeme Järvi, y Owain Arwel Hughes.

6 CD BOX-SET, -FLAC-1.54 Gb

Disc 1.- Symphony No. 1
Carl-Axel Dominique – Piano/Jazz Improvisation
Ben Kallenberg – Violin/Jazz Improvisation
Åke Lännerholm – Trombone
Royal Stockholm Philharmonic Orchestra, Leif Segerstam, conductor

Disc 2.- Symphony No.2, St. Florian.
Mikael Bellini – Counter-tenor
Göran Eliasson – Tenor
Malena Ernman – Alto
Torkel Borelius – Bass
Mikaeli Chamber Choir, Anders Aby, chorus-master
Royal Stockholm Philharmonic Orchestra, Leif Segerstam, conductor

Disc 3.- Symphonies No. 3. & 7
Symphony No. 3: Royal Stockholm Philharmonic Orchestra, Eri Klas, conductor
Symphony No. 7:BBC National Orchestra of Wales, Tadaaki Otaka, conductor

Disc 4.-Symphony No. 4 & Concerto Grosso No. 4,
Symphony No. 4:
Stefan Parkman – Tenor
Mikael Bellini – Couner-tenor
Lucia Negro – Piano
Academy Chamber Choir of Uppsala, Stefan Parkman, chorus-master
Stockholm Sinfonietta, Okka Kamu, conductor
Concerto Grosso No. 4:
Gothenburg Symphony Orchestra, Neeme Järvi, conductor

Disc 5.-Symphonies Nos. 6 & 8
Symphony No. 6:
BBC National Orchestra of Wales, Tadaaki Otaka, conductor
Symphony No. 8:
Norrköping Symphony Orchestra, Lü Jia, conductor

Disc 6.-Symphonies Nos. 0 & 9
Symphony No. 0:
Cape Philharmonic Orchestra, Owain Arwel Hughes, conductor
Symphony No. 9:
Cape Philharmonic Orchestra, Owain Arwel Hughes, conductor

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A Schnittke Reader (PDF).

A Schnittke Reader Indiana University Press | July 2002 | ISBN-10: 0253338182 | 296 pages | PDF | 11.8 MB

A treasury of the composer's writings--many never before published, even in Russian. Here Schnittke speaks of his life, his works, and a broad range of topics in 20th-century composition, performance, and other arts.

"I have read all of Alfred's articles with enormous interest and enjoyment... [He] had such a profound insight into the music of other composers, and ... he found in it so many regular features that were hidden from others." --from the foreword by Mstislav Rostropovich

"This collection of writings by or about Alfred Schnittke, including many previously unpublished, is a major contribution to our understanding of the most important Russian composer of recent times."--Classical Music, 4 January 2003

"This collection of writings by or about Alfred Schnittke, including many previously unpublished, is a major contribution to our understanding of the most important Russian composer of recent times."--Classical Music, 4 January 2003

C O N T E N T S

Foreword by Mstislav Rostropovich / vii
Translator’s Note / xi Introduction / xiii
Chronology / xvii I.

SCHNITTKE SPEAKS ABOUT HIMSELF 1
1. From Conversations with Alexander Ivashkin (1985–1994) / 3
II. SCHNITTKE ON THE LENIN PRIZE 39
2. Letter to the Lenin Prize Committee (1990) / 41
III. SCHNITTKE ON HIS OWN COMPOSITIONS 43
3. On Concerto Grosso No. 1 (late 1970s) / 45
4. On the Fourth Symphony (1984) / 47
5. On Film and Film Music (1972, 1984, 1989) / 49
6. On Staging Tchaikovsky’s The Queen of Spades (1977) / 53
IV. SCHNITTKE ON CREATIVE ARTISTS 57
Composers
7.On Shostakovich: Circles of Influence (1975) / 59
8. On Prokofiev (1990) / 61
9. On Gubaidulina (1970s) / 67
10. On Kancheli (1982, 1991) / 68
11. In Memory of Filip Moiseevich Gershkovich (1988) / 70
Performers
12. On Sviatoslav Richter (1985) / 72
13. On Gennadi Rozhdestvensky (1991) / 75
14. Subjective Notes on an Objective Performance (on Alexei Liubimov) (1973) / 79
A Writer 15.
On Viktor Yerofeev (1988) / 83
A Painter 16.
On the Paintings of Vladimir Yankilevsky (1987) / 84
V. SCHNITTKE ON TWENTIETH-CENTURY MUSIC 85
17. Polystylistic Tendencies in Modern Music (c. 1971) / 87
18. The Orchestra and the New Music (early 1970s) / 91
19. The Problem of Giving Outward Expression to a New Idea (1982) / 94
20. From Schnittke’s Archive (1970s and 1980s) / 98
21. On Jazz (1984) / 100
22. Timbral Relationships and Their Functional Use: The Timbral Scale (1970s) / 101
23. Klangfarbenmelodie—“Melody of Timbres” (1970s) / 113
24. Functional Variability of Line in Orchestral Texture (1970s) / 120
25. A New Approach to Composition: The Statistical Method (1970s) / 125
26. Stereophonic Tendencies in Modern Orchestral Thinking (1970s) / 131
27. Using Rhythm to Overcome Meter (1970s) / 140
28. Static Form: A New Conception of Time (1970s) / 147
29. Paradox as a Feature of Stravinsky’s Musical Logic (1973) / 151
30. Timbral Modulations in Bartók’s Music for Strings, Percussion, and Celesta (1970s) / 201
31. The Principle of Uninterrupted Timbral Affinities in Webern’s Orchestration of Bach’s Fuga (Ricercata) a 6 voci (1970s) / 211
32. The Third Movement of Berio’s Sinfonia: Stylistic Counterpoint, Thematic and Formal Unity in Context of Polystylistics, Broadening the Concept of Thematicism (1970s) / 216
33. Ligeti’s Orchestral Micropolyphony (1970s) / 225
VI. SCHNITTKE AS SEEN BY OTHERS 229
34. Gidon Kremer (1989) / 231
35. Gennadi Rozhdestvensky (1989) / 236
36. Vladimir Yankilevsky (1989) / 240
37. Mstislav Rostropovich (1990) / 247
38. Mark Lubotsky (1998) / 248
Index of Names and Titles / 257


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Beethoven: Complete Piano Concertos-Paul Lewis (2010).

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Paul Lewis, el destacadísimo discípulo y posible heredero de Alfred Brendel, nos entrega ahora los cinco conciertos para piano de Beethoven, acompañado por la BBC Symphony Orchestra bajo la conducción de Jiri Belohlavek.
La caja de 3 Cd`s fue lanzada al mercado en agosto de 2010, por el sello Harmonia Mundi.

NUEVO RIP-SIN CONTRASEÑA
New RIP-No Passwords

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Bach's Works for Solo Violin, By Joel Lester (PDF).

Bach's Works for Solo Violin: style, structure, performance, By Joel Lester (
Oxford University Press | September 30, 1999 | ISBN-10: 0195120973 | 200 pages | PDF | 1.9 MB

J.S. Bach's sonatas and partitas for solo violin have had a central place in the repertoire since the mid-18th century. This engaging introduction to these works is the first comprehensive exploration of their place within Bach's music, focusing on their structural and stylistic features as they have been perceived over time. Combining an analytical study, a historical guide, and an insightful introduction to Bach's style, the book will help violinists, scholars, and listeners develop a deeper personal involvement with many aspects of these wonderful pieces.


Contents
one The History of Bach’s Solo-Violin Works 3
The Historical Setting 6
Bach’s Score 11
The Transmission of Bach’s Sonatas and Partitas 19

two The G-minor Adagio 25
The Adagio as a Prelude to the Fuga 25
One Type of Bach Prelude 26
The G-minor Adagio as a Prelude 33
The Adagio’s Rhetorical Shape 39
Performance Considerations 47
Notes on the Autograph Score 49
Performing the Rhythmic Notations 50
The Other Prelude Movements in the Solo-Violin
Works 51

three The G-minor Fuga 56
The Sections of the G-minor Fuga 58
Other Aspects of Heightening Activity in the Fuga 63
Structure and Performance: The Fugal Exposition 71
The Eighteenth-Century Arrangements 74
The A-minor and C-major Fugas 84

four The Siciliana of the G-minor Sonata 87
Bach’s Parallel-Section Movements 89
A Questionable Note and Some Thoughts on
The Third Movements of the Other Solo-Violin
The Structure of the Siciliana 95
Ornamentation 101
Sonatas 105

five The G-minor Presto 108
The Presto and Perpetual Motions 108
Baroque versus Later Metrics 115
Binary Form and (versus?) Increasing Levels of Activity 123
Performance Issues in the G-minor Presto 136
The Finales to the A-minor and C-major Sonatas 137

six The Partitas 139
Series of Dance Movements 139
The Dance Types 149
The Chaconne 151

seven Closing Thoughts 157
Notes 163
Works Cited 175
Index 183


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Playing with History: The Historical Approach to Musical Performance (PDF)

Playing with History: The Historical Approach to Musical Performance, By John Butt Cambridge University Press | Musical Performance and Reception Collection |Cambridge University Press | 2002 | ISBN-10: 0521813522 | 282 pages | PDF | 1 MB

Why do we feel the need to perform music in a historically informed style? Is this need related to wider cultural concerns? In this challenging study, John Butt sums up recent debates on the nature of the early music movement, calling upon a seemingly inexhaustible fund of ideas gleaned from historical musicology, analytic philosophy, literary theory, historiography and theories of modernism and postmodernism. He develops the critical views of both supporters and detractors, claiming ultimately that it has more intellectual and artistic potential than its detractors may have assumed.

Contents
Preface page ix
Acknowledgements xiv
List of abbreviations xvi
PART 1 HISTORICALLY INFORMED PERFORMANCE IN MUSIC CRITICISM
1 Joining the historical performance debate 3

PART 2 HISTORICALLY INFORMED PERFORMANCE AND THE IMPLICATIONS FOR WORK, COMPOSER AND NOTATION
2 Historical performance and ‘truth to the work’: history and the subversion of Platonism 53
3 Historical performance and ‘truth to the composer’: rehabilitating intention 74
4 Negotiating between work, composer and performer: rewriting the story of notational progress 96
PART 3 HISTORICALLY INFORMED PERFORMANCE WITHIN THE CULTURE OF THE LATE TWENTIETH CENTURY
5 Historical performance at the crossroads of modernism and postmodernism 125
6 ‘A reactionary wolf in countercultural sheep’s clothing?’ – historical performance, the heritage industry andthe politics of revival 165
Notes 218
Bibliography 243
Index 253


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The Keyboard Sonatas of Domenico Scarlatti- By Dean Sutcliffe (PDF).

The Keyboard Sonatas of Domenico Scarlatti and Eighteenth-Century Musical Style, By Dean Sutcliffe, Cambridge University Press | 2003 | ISBN-10: 0521481406 | 412 pages | PDF | 4 MB

This investigation of one of the greatest yet least understood repertories of Western keyboard music reveals the reasons why the 555 keyboard sonatas of Domenico Scarlatti have not been written about more often. The lack of documentary evidence and the composer's position between the so-called Baroque and the Classical periods are crucial factors. W. Dean Sutcliffe also examines each individual sonata in unprecedented detail.

CONTENTS
Preface page vii
1.- Scarlatti the Interesting Historical Figure 1
2.- Panorama 26
Place and treatment in history 26
The dearth of hard facts 29
Creative environment 32
Real-life personality 34
The panorama tradition 36
Analysis of sonatas 38
Improvisation 40
Pedagogy 41
Chronology 43
Organology 45
Style classification 49
Style sources 54
Influence 55
Nationalism I 57
Nationalism II 61
Evidence old and new 68
3.- Heteroglossia 78
An open invitation to the ear: topic and genre 78
A love-hate relationship? Scarlatti and the galant 95
Iberian influence 107
Topical opposition 123
4.- Syntax 145
Repetition and rationality 145
Phrase rhythm 167
Opening and closure 171
Sequence 181
Kinetics 188
Vamps 196
5.- Irritations 217
Der unreine Satz 217
Introduction 217
Voice leading 223
Counterpoint 230
Cluster chords and dirty harmony 236
Rationales 247
Tempo and Scarlatti’sAndantes 250
Ornamentation 256
Source matters 263
6.- ‘Una genuina m´usica de tecla’ 276
Fingermusik and ‘mere virtuosity’ 276
Keyboard realism 292
Texture and sonority 297
7.- Formal dynamic 320
Binary-form blues 320
Thematicism 325
Formal propertiesand practices 334
Dialect or idiolect? 355
Lyrical breakthrough 358
Pairs 367
Finale 376
Bibliography 381
Index 392

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Mahler 6,7,8 & 9 conducted by Jascha Horenstein, BBC Legends.

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Hoy iniciamos la serie: Mahler en la Leyenda. Las grabaciones de la BBC, en ella compartiremos los discos en los que Mahler fue dirigido por Jascha Horenstein, John Barbirolli, Kurt Sanderling, Rudolf Kempe, Klaus Tennstedt y Bruno Maderna, así como los registros consagrados de Dame Janet Baker y Dietrich Fischer-Dieskau; todos en formatos sin pérdida (Losless) APE o FLAC.
En esta entrega compartimos las sinfonías 6, 7, 8 y 9 y Das Lied von der Erde de Mahler, dirigidas por ese insuperable Maestro Jascha Horenstein, uno de los tres --junto a Bruno Walter y Willem Mengelberg-- mas denodados defensores de Mahler en los años difíciles.







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Szymanowski: Symphony No. 3, 'Song of the Night' / Violin Concerto No. 1-Pierre Boulez (2010)

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El disco mas reciente de Pierre Boulez nos entrega dos piezas del compositor Polaco Karol Szymanowski, con el sonido de la Vienna Philharmonic Orchestra y el violín de Christian Tetzlaff.

El registro de Deutsche Grammophon incluye una conversación de Andrew Clements con Boulez en la que explica las razones de su incursión en la obra del autor Polaco.

Pierre Boulez honors singular Polish composer Karol Szymanowski by recording - live - the Violin Concerto no. 1 and the Symphony no. 3 "Song of the Night". Violin virtuoso Christian Tetzlaff and the Vienna Philharmonic are peerless participants. The two orchestral works are the high-water mark of Szymanowski's impressionism, an idiom mingling the refined sonorities of Debussy, Ravel, and late Scriabin with the impassioned Romanticism of the New German School.

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1,000 libros de Música. 1,000 Music Books. Dos noticias. Una mala y una buena.

La mala.
Al comienzo de 2011, nos fueron borrados del disco remoto todos los archivos de nuestra cuenta, incluidos todos los registros de nuestra Biblioteca Digital de Libros de Música. El borrado afecto la mayoría de los enlaces de nuestras entregas presentando libros, que han quedado enlace de descarga. Hemos vivido de modo directo la desgracia de ver derrumbado el trabajo de años en unos segundos.
Estamos ahora mucho más preocupados y alertas dada la fragilidad que circunda este trabajo voluntario de compartir nuestra música sin lucro.
La buena.
Haciendo un gran esfuerzo hemos restituido casi todos los registros de la Biblioteca, y hemos subido todos los libros que teníamos en espera, de manera tal que podemos decir que, si no nos lo impide otro ataque, alcanzaremos muy pronto los 1,000 que nos propusimos concentrar en un solo sitio libre, abierto, disponible y gratuito.
Quienes nos han seguido, saben que hemos logrado concentrar una buena parte de lo mejor de las biografías, ensayos, tratados, manuales, y textos diversos dedicados a la música clásica.
Sin pretender que la Biblioteca es un acervo exhaustivo, creemos haber reunido algo de lo mejor de las grandes editoriales universitarias, (Cambridge, Oxford, UCLA, San Diego, Chicago ),colecciones especializadas (Verso, Simon & Schuster,Faber & Faber ) ,y Comerciales (Reutledge, Springer, Penguin, Ashgate, Random House ), y hemos agregado recientemente –como complemento--una nueva sección de Jazz, centenares de partituras, las secciones dedicadas al violín, y los artículos de revistas especializadas que concentra JSTOR.
Nos enorgullece poder compartir todo sin condicionamiento alguno.

Informados de los diferentes intentos para limitar o impedir la libre circulación de libros y música en la red, invitamos a nuestros lectores a llevar, cuanto antes, una copia de este acervo a las Bibliotecas públicas, de las escuelas y universidades que puedan darles uso masivo.
No son buenos tiempos los que vienen para la cultura que circula con libertad.
Tres indicaciones mas:
1.- Estamos en una nueva dirección, por lo que invitamos a quienes nos siguen vía RSS, a que hagan nueva suscripción para acceder a las novedades desde la barra de navegación.
2.- Si nuestros amigos y seguidores detectan algún faltante, les suplicamos nos dejen un mensaje privado.
3.,- Seguimos abiertos a sumar al acervo los libros que Uds. envíen.

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Mahler: Des Knaben Wunderhorn / Adagio from Symphony No.10-Pierre Boulez (2010)

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Con esta grabaciòn en vivo, de los lieder Des Knaben Wunderhorn y con el registro del adagio de la sinfonía no.10, Pierre Boulez cierra el ciclo de Mahler para Deustche Grammophon. Las voces son de la mezzo-soprano Magdalena Kozená y el barítono Christian Gerhaher; la orquesta The Cleveland Orchestra .
Grabado en vivo en febrero de 2010 en el Severance Hall de Cleaveland.

Pierre Boulez: There are many pieces that could be described as
"the best of Mahler". But I find the musical vocabulary
of the Adagio particularly toMard-looking. For me, it's
a summation of all Mahler had ever written. At the same
time, it places a question mark over the future, indicating
that Mahler would have continued to develop if he'd
lived a little longer.

ln whid direction would he have developed?

Pierre Boulez: That's difficult to say. There are links with early
Schoenberg, for example, especially the Gurre-Lieder,
whose moods and range of expression come very close
to parts 0f the Adagio in terms of their musical language.
But we can't argue on this basis that Mahler
would necessarily have developed in the direction of
Schoenberg. In this respect his final work remains ambiguous.

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James Levine Conducts Mahler (2010)

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En el marco de los aniversarios de Gustav Mahler que se conmemoran en 20111, la disquera Sony ha re-editado las grabaciones, originalmente hechas para RCA, que dirigió el joven James Levine entre 1974 y 1981.
Se trata de ocho sinfonías (1, 3, 4, 5, 6, 7, 9 & 10) entre las que destaca la pionera grabación completa de la versión ejecutable de Deryck Cooke de la sinfonía No. 10 inconclusa.
Como salta a la vista, estamos ante una restitución memorable, pues nos entrega el temprano testimonio de compromiso Mahleriano de James Levine quien es hoy el director de opera mas grabado y conocido del mundo. Las grabaciones de este, entonces jovencísimo, director norteamericano vinieron a sumarse a las que realizadas por Leonard Bernstein, incidiendo en el ambiente musical que inserto a Estados Unidos entre los países pioneros de reivindicación de Gustav Mahler.
Las orquestas dirigidas por Levine son la The Philadelphia Orchestra, y la London Symphony Orchestra.
Las fechas de grabación son:
Sinfonía no.1.- 1974 + Adagio Sinfonía no.10 1978
Sinfonía no.3.-1975
Sinfonía no.4.-1974
Sinfonía no.5.-1978
Sinfonía no.6.-1977
Sinfonía no.7.-1980
Sinfonía no.9.-1979
Sinfonía no.10.- 1981

La caja es de 10 CD`s mas scan.




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