sabato 2 maggio 2009

Peter Ruzicka - String Quartets (Arditti String Quartet)

Image and video hosting by TinyPic

Peter Ruzicka (b. July 3, 1948, Düsseldorf). Esteemed German composer of mostly orchestral, chamber, choral, and vocal works that have been performed throughout the world; he is also active as an administrator, conductor and writer.

Prof. Ruzicka initially studied music theory and piano with Peter Hartmann and oboe with Egbert Gutsch at the Hochschule für Musik und Theater in Hamburg from 1963–68. He later studied law and musicology in Munich, Hamburg and Berlin from 1968–76 and earned his doctorate under the supervision of Wilhelm Nordemann in 1977.

Among his many honors are the Kompositionspreis from the city of Stuttgart (1969, for Esta Noche [Trauermusik für die Opfer des Krieges in Vietnam]), a prize in the Bartók competition in Budapest (1970, for 2. Streichquartett, '...Fragment...' [withdrawn]) and a mention in the UNESCO International Rostrum of Composers (1971, for Metastrofe [Versuch eines Ausbruchs]). He has also received First Prize in the Gaudeamus competition (1972, for In processo di tempo...), the Bach-Preis-Stipendium from the city of Hamburg (1972) and the Louis Spohr Musikpreis Braunschweig (2004, for his œuvre and his promotion of new music). He has been a member of the Akademie der Künste in Munich since 1985 and of the Freie Akademie der Künste in Hamburg since 1987.

He has received commissions from the cities of Augsburg and Düsseldorf and from Bayerischer Rundfunk, the Berliner Festwochen, the Bundesjugendorchester, the Deutsche Oper Berlin, the Deutsches Symphonie-Orchester Berlin, and the Göttinger Symphonie Orchester. The Internationale Musikverlage Hans Sikorski, the Kölner Philharmonie, NDR, RIAS, the Sächsische Staatsoper Dresden, the Schleswig-Holstein Musikfestival, SDR, SWF, and WDR have also commissioned him.


[...] Alongside Ruzicka’s works for large ensembles runs a steady production of string quartets - but this is in no way a “sideline”. These works have been closely connected to the poetic work of Paul Celan and to Webern’s axiom of a maximally dense musico-linguistic statement since ‘...fragment...' Five Epigrams for String Quartet (1970). The Second String Quartet arose as a requiem for Paul Celan and is concerned with thoughts about death. These thoughts can be considered to be the scope of the following compositions for or with string quartet, as in the eschatological standpoint of the Third String Quartet ‘...über ein Verschwinden’ [about a Disappearance], the title of which quotes Boulez’s obituary for Adorno and whose telos is found in the final movement of Mahler’s Ninth Symphony as an allegory of death itself; ‘Tombeau’ for flute, (doubling alto and bass flutes) and string quartet of 2000, “a late echo of the Flute Concerto” (P.R.), reveals itself as a stele for Karl-Bernhard Sebon (1935-1994), the soloist who played the world premiere of ‘Emanazione. Variationen für Flöte und vier Orchestergruppen’ (1976). Paul Celan’s ‘Force of Light’ is one of nine text sources in ‘...sich verlierend’ [Losing Oneself] for string quartet and speaker (1996), a work which, in regard to structure, is just as important a connecting link to the musical theatrical work ‘Celan’ as is ‘...Inseln, randlos...‘ [Islands, edgeless] of 1994/95. Here, as in nearly all of his works since the middle of the 1990s, one clearly perceives the tendency to abandon the fragmentary aesthetic of his previous works in favour of an arch-like grandeur, thus fulfilling the requirements of a full-length stage work as well.
The compositional idea includes – as the image of edgeless islands suggests – compression and unfolding, the material core and the breadth of musical space, which the solo violin, large orchestra and a chamber choir fulfil. Paul Celan is also present in this work with a poem from the cycle ‘Eingedunkelt’ [Darkened]: “After the renunciation of light: / the messenger’s walk, / brightening day, // the blissfully blossoming message, / shriller and shriller, / finds its way to a bleeding ear.”



1) "...über ein Verschwinden" (String Quartet no. 3) (1992)

2) Klangschatten (1991)

"...fragment..." Five Epigrams for String Quartet (String Quartet no. 2) (1970)
3) i Molto calmo, Statico
4) ii Eccitato
5) iii Sfasciarsi
6) iv Movimentato
7) v Indistino

8) Introspezione, Documentation for String Quartet (String Quartet no. 1) (1969-70)

9) "...sich verlierend" for String Quartet and Speaker (String Quartet no. 4) (1996)


Arditti String Quartet:
Irvine Arditti, violin
Graeme Jennings, violin
Garth Knox, viola
Rohan de Saram, cello

Dietrich Fischer-Dieskau, speaker

l i n k

venerdì 6 febbraio 2009

Salvatore Martirano: O, O, O, O, That Shakespeherian Rag

Image and video hosting by TinyPic

Salvatore Giovanni Martirano, internationally acclaimed American composer and Professor Emeritus at the University of Illinois was born on January 12th, 1927, in Yonkers, NY, a son of Alexander and Mary Mazzullo Martirano. He died at the age of 68 on Friday, November 17th, 1995.

Professor Martirano studied composition with Herbert Elwell at Oberlin College(1947-51), with Bernard Rodgers at The Eastman School of Music(1952), and with Luigi Dallapiccola at the Cherubini Conservatory in Florence, Italy(1952-4). From 1956 to 1959 he was in Rome as a Fellow of the American Academy, and in 1960 he recieved a Guggenheim Fellowship and an award from the American Academy of Arts and Letters. At this time he had works commissioned by the Koussevitzky and Fromm foundations. He was professor of composition at the University of Illinois from 1963 till his retirement in 1995. During the Illinois years he also accepted residencies at The Sydney Conservatorium of Music in Sydney in 1979, Australia, IRCAM in Paris in 1982, France, and The California Institute of the Arts in 1993.

His compositions have been performed by the New York Philharmonic, Chicago Symphony, Los Angeles Philharmonic, Vienna Philharmonic Orchestras, Cleveland Orchestra, and by radio orchestras and choral ensembles throughout the United States, Europe and the Orient. His chamber and solo works have been performed world-wide.



01 Cocktail Music (1962), for piano
02 Octet (1963), for flute, bass clarinet, conta-alto clarinet, marimba, celesta, violin, cello, contra-bass
03 Chansons Innocentes (1957) ,for soprano and piano: I In Just Spring
04 Chansons Innocentes (1957) ,for soprano and piano: II Hist Whist
05 Chansons Innocentes (1957) ,for soprano and piano: III Tumbling Hair
06 Ballad (1966), for amplified nite-club singer and instrumental ensemble
07 Stuck On Stella (1979), for solo piano
08 O, O, O, O That Shakespearian Rag (1959), for mixed chorus and instrumental ensemble: I Winter
09 O, O, O, O That Shakespearian Rag (1959), for mixed chorus and instrumental ensemble: II Lullaby
10 O, O, O, O That Shakespearian Rag (1959), for mixed chorus and instrumental ensemble: III Warning
11 O, O, O, O That Shakespearian Rag (1959), for mixed chorus and instrumental ensemble: IV Spring

Performers: John Garvey, viola; Dorothy Martirano, violin; Arthur Maddox, celesta; Howard Smith, contra-alto clarinet; Lee Duckles, cello; Rick Kvistad, marimba; Thomas Fredrickson, bass; Thomas Howell, flute; Ronald Dewar, bass clarinet; Donald Smith, voice; Jacqueline C Bobak, soprano; J. Robert Floyd, piano; Vicki Ray, piano; Marilyn Nonken, piano; Morgan Powell, trombone; University of Illinois Chamber Choir and Madrigal Singers


[avg. bitrate: 183 kbps]
[genre: contemporary classical, avant-garde, classical]

l i n k

giovedì 8 gennaio 2009

Tom Sora - Music For Mechanical And Electronic Instruments: 20 Töne / Destillation / Drei Angriffe

Image and video hosting by TinyPic

20 Töne (1993-98) - Neun Kompositionen Für Kurbelspieluhr
1 Texturen (1993) (5:24)
2 Ohne Titel 1 (1993) (1:58)
3 Eingefangenes Monument (1994) (3:026)
4 Wechselspiele (1994) (Mit Zwei Stimmen) (10:10)
Voice - Tom Sora
5 Ohne Titel 2 (1995/98) (3:42)
6 Tradiertes Material (1995) (3:37)
7 Unterbrochene Bänder (1995) (2:44)
8 Unterbrochenes Band (1996) (3:46)
9 Diskontinuität Und Überblendung (1996) (4:46)
Zwei Stücke Aus Dem Zyklus Destillation (2002/2004) Für Midi-Klavier
10 Improvisationscollage (2002/2004) (4:27)
Piano - Tom Sora
11 Erstes Destillat Aus >>Improvisationscollage<< (2003/2004) (4:27)
Piano - Tom Sora
12 Drei Angriffe (2003) Für Midi-Klavier (10:25)