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Search Result for Label CYBELE RECORDS
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3CD/SACD
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CYBELE 004CD
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$42.00
NOT IN STOCK, SPECIAL ORDER
Comes on three stereo/multichannel hybrid SACDs that can be played on any CD player. Performed by Pierre Boulez, piano. Featured works: "Douze Notations," "Premiere Sonate," "Deuxieme Sonate," "Troisieme Sonate," "Incises," and "Une page d'ephemeride." "Here is the complete piano works of Pierre Boulez on artistically and sonically the highest level in pure DSD surround sound recorded so far, including the never released on record, extended version of 'Incises' (1994/2001). Mirjam Wiesemann conducted a detailed conversation with Pierre Boulez in his office at IRCAM in Paris about, among other things, the freedom of expression in serial music, Frank Zappa, John Cage, control and chance, the theater, his work as composer and conductor, of curiosity and talent, and his childhood. Dimitri Vassilakis , one of the few pianists of worldwide reputation, provides the interpretation for this document."
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CD
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CYBELE 960310CD
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$17.00
NOT IN STOCK, SPECIAL ORDER
"Fritsch dedicated the tenth volume of the series to live electronic works that were composed for the most part even before the founding of Feedback Studios. At the beginning there is 'Duet' for viola (1961), defined as 'Opus 1' by Fritsch. The work grew out of an experimental handling of the viola and established the first of a series of compositions that would integrate Fritsch's tape recordings into live performances, sometimes supplemented by improvisation. 'Madrigal Triste' (1963) also provides an example of Fritsch's interest in translation from text to music: letters and syllables of the eponymous poem by Charles Baudelaire are transformed into oboe tones. An accompanying audiotape changed the sound of the oboe with the means of the electronic studio and leaves 'a kind of imaginary space oboe sound' emerge. The complex work 'Partita' (1966) demonstrates Fritsch's description of live-elekronischer music as 'a new kind of chamber music, the instruments along with traditional musical instruments includes various electronic components transformation.' As a 'transition elements' Fritsch uses special contact microphones, filters, regulators, and a delay-and-feedback system. All five compositions on this CD address the connection between musician and instrument in the new age of electronics, creating previously unheard sounds and timbres."
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CYBELE 960311CD
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$17.00
NOT IN STOCK, SPECIAL ORDER
"The eleventh CD of the feedback series is dedicated to Fritsch's musical triptych (1992). 'The Bittersweet Book,' a composition for the rare combination of oboe, accordion and bass, refers to the history of the bittersweet little book of the Apocalypse and forwards in a strange world of sound and harmonics of high tones in the motif of a death. 'At That Time,' based on the eponymous play by Samuel Beckett, which revolves around the memories of different stages of life and identity of a dying self. As provided by Beckett, the speaker's voice is heard in three versions (for example in the stereo image on the left-center-right). Fritsch's composition combines Beckett's text syllable by syllable with certain pitches that are synchronized from one organ to play with words."
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3CD/SACD
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CYBELE 002CD
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$42.00
NOT IN STOCK, SPECIAL ORDER
Performed by Frank de Groot, 1st violin; Maartje Kraan, 2nd violin; Karin Dolman, viola; Hans Woudenberg, cello. "If the subject of Hans Erich Apostel comes up at all, he is known above all as a pupil of Arnold Schoenberg, and later of Alban Berg, as a member of the Schoenberg circle and perhaps as the most talented lyrical composer among Schoenberg's students, as someone who later developed a purely instrumental style. The present recording displays Apostel's complete output for string quartet (5 quartets, four are World Première Recordings), completed by archival recordings with the voice of Hans Erich Apostel, and a conversation of Mirjam Wiesemann and Apostel's pupil and friend Prof. Dr. Rainer Bischof (both in German language). Bischof remembers his admired and beloved teacher in a lively, precise and multifaceted way; Apostel taught Bischof about much more than being a composer and left a lasting impression on Bischof's views on composition and the world. Rainer Bischof recalls anecdotes that reveal Apostel the man, depicts the artistic and personal developments undergone by Apostel and sheds light on a few traits of his teacher's personality. Apostel was like the edelweiss in the Bergian tradition, a flower that Apostel kept on his writing desk, and like the skull in the Schoenbergian tradition, symbolizing the past. Bischof describes Apostel the man, caught between Alban Berg and Arnold Schoenberg, between charm and rudeness, between a fear of life outside his study and a musical micro-life with an unusual propensity for adventure (Dr. Harald Kaufmann). Apostel was a devoted humanist, musical architect and intellectual, a musician deep in thought, opposed to any form of emotional aesthetics (Rainer Bischof), but also prone to vitriolic outbursts and an intense fear of illness and madness." -- Mirjam Wiesemann. Stereo/multichannel hybrid SACDs that can be played on any CD player.
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3CD/SACD
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CYBELE 001CD
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$42.00
NOT IN STOCK, SPECIAL ORDER
"Karl Amadeus Hartmann (1905-1963) inaugurates our Artists in Conversation Edition. Sincerity, courage, consistency, and intensity were traits that marked Hartmann's life and work. During the war, he buried the manuscripts of his compositions far underground, he had his son Richard safely stowed away with his grandparents and, from the earliest days of the Nazi régime, he began his inner emigration, withdrawing into himself and into his work room. From this earliest phase of his inner emigration date, among other works, the first string quartet, the first symphony and the symphonic poem Miserae. Hartmann was an exceptional phenomenon. He was unique in how his beliefs in justice, humanity and artistic truthfulness became more pronounced as he aged, or to paraphrase Oscar Wilde: Who thinks not of his ways, thinks not at all. In the course of our work on this project, our interest in Karl Amadeus Hartmann the man grew and grew. We followed leads and discovered voice recordings, most of which have never been released on disc. These recordings illuminate, from various perspectives, Karl Amadeus Hartmann as an incorruptible and extraordinary artist and, as a result, allow a many-hued, multi-dimensional image of this 'whitest of all German musicians' to emerge." Stereo/multichannel hybrid SACDs that can be played on any CD player.
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CD/SACD
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CYBELE 60701CD
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$21.00
NOT IN STOCK, SPECIAL ORDER
Performed by Martin Schmeding, organ; Christian Roderburg, percussion. Featured works: Drei kleine Orgelstücke (1978); A la mémoire de Josquin für Orgel (1975); Interpolationen (1993); Meteoron for Organ, Percussion and two track tape (1969). "The organ oeuvre of Günther Becker reveals a broad spectrum of compositional concerns, never reducing himself to a personal style. Instead, his claim that he aimed to allow each work to pursue its own, individual idea, becomes clear. As a result, his organ compositions are not only a cross-section of Becker's own creative work, but also a reflection of the times in which they originated: first the experimental years of new organ music in its infancy, then the first post-modern attempts at an integration with early music (citations of music by Josquin des Prez). These organ works are a testament to his internal debate about tonality and to a reflexive return to the idea of pure music and its many incarnations. Becker showed himself to be a composer in flux, one whose authenticity manifested itself in distinct artistic phases. Taken as a whole, the great Sauer organ displays a true versatility, an instrument of many colours suited for a vast stylistic range of organ music. This recording proves it to be a perfect match for the contemporary organ répertoire and for the music of Günther Becker in particular: one is seated in front of an instrument capable of the special synthesis of sounds often required by the composer, sounds whose roots may be traced back to the serial structures of his compositional method. The organ simultaneously allows, however, a solid basis for orchestral sounds via its numerous foundation stops and the innumerable ways in which sounds could be tinted and nuanced." Stereo/multichannel hybrid SACD that can be played on any CD player.
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CD/SACD
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CYBELE 30802CD
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$21.00
NOT IN STOCK, SPECIAL ORDER
Performed by Martin Schmeding on the great historical Gottfried Silbermann Organ (III/47, 1755), Cathedral Dresden (Catholic Court Church). "'...the superb neatness, goodness and durability of its materials as well as its craftsmanship; the great simplicity of its inner construction; the uncommonly splendid and full intonation; and the extreme ease and comfort of its keyboards.' These words of praise from Johann Friedrich Agricola, a pupil of Bach, referring to the organs of Gottfried Silbermann, attest to the exceptional quality of organ-building in Germany during the high-baroque period. The Organ of the Catholic Court Church, Dresden (Cathedral) has 47 stops on three manuals and pedal and is Silbermann's grandest organ. 1755 -- only a few years after Bach's death -- the Organ was consecrated. Wolfgang Amadeus Mozart played the organ in 1789 and praised all of its aspects in a letter to his wife. During the Second World War the organ's pipes were transferred for safe storage to the Marienstern monastery in 1944, soon before the bombing of Dresden. Since 2001 the Organ sounds again with its original pitch of 415 Hz. The Organ Version of the Goldberg Variations 'Aria with diverse variations for a harpsichord with two manuals' (part 4 of the Clavier-Übung). -- Johann Sebastian Bach unequivocally sets forth his requirements on the title page of the first printed edition of the Goldberg Variations: The harpsichord enables a large amount of variability in terms of technical and sonic possibilities (intersecting of pitches, changing of manuals, changing of timbres, changing of pitch through registration, etc). The arrangement for organ is, from the point of view of the formation of sound, a natural evolution from the original version for harpsichord. The intended effects and contrasts, often abrupt, that occur during the course of the work are rendered in a particularly plastic manner on the organ, through the multiplicity of stops at one's disposal." Stereo/multichannel hybrid SACD that can be played on any CD player.
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CD/SACD
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CYBELE 160404CD
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$21.00
NOT IN STOCK, SPECIAL ORDER
Featured works: Nikolay Obukhov (1892 - 1954): "Invocation" (1916); "Deux pieces" (1915): "Les astrales parlent & Reflet sinister; Conversion" (1915); "Icône" (1915); "Création de l´Or" (1916); "Aimons-nous les uns les autres" (1942); "La paix pour les réconciliés - vers la source avec le calice" (1948); "Le Temple est mesuré, l´Esprit est incarné" (1952); "Adorons Christ - Fragment du troisième et dernier Testament" (1945). Ivan Vyshnegradsky (1893 - 1979): "Deux Préludes pour Piano, Op. 2" (1916); "Etude sur le Carré Magique Sonore, Op. 40" (1957). Sergey Protopopov (1893 - 1954): "Sonata No. 2, Op. 5" (1924) Performed by Thomas Günther (piano). "Alexander Scriabin was the most important source of inspiration for the experiments of the young Russian generation of composers, to which the three composers of this SACD release -- Nikolay Obukhov (1892-1954), Ivan Vyshnegradsky (1893-1979) and Sergey Protopopov (1893-1954) -- can be counted. They belong to the generation of young, avant-garde artists who emerged from the turbulent time which accompanied the revolutionary upheaval of the 1910s in Russia. This period of relative artistic freedom ended abruptly in 1929, when the severe criticism of 'revolutionary' composers began. A few artists had left Russia earlier, in the immediate aftermath of the 1917 revolution, and their exile in the West led them not to recognition, but rather to isolation and obscurity, despite support from some prominent sources! The catastrophe that was World War II only helped to keep their music in oblivion. Those composers who remained in Russia awaited a different, but no less tragic, fate: the 'need to survive,' i.e. complying with the aesthetic ideal of the Stalinist age. Unpopular people were completely removed from the public consciousness and any trace of them expunged from libraries and reference works. Thus finding scores is an extremely difficult process. In the case of Nikolay Obukhov, for instance, only three pieces were ever published: three piano pieces were issued by Durand, no doubt with the help of Maurice Ravel. The rest of his catalogue languishes in manuscript form in various archives. This SACD release with pianist Prof. Thomas Günther (Folkwang-Hochschule Essen), who is specialized since several years in this kind of repertoire, is the start of a whole SACD series in which important piano works during and after Russian Futurism are rediscovered and released for the first time on multiple SACDs." Stereo/multichannel hybrid SACD that can be played on any CD player.
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CD/SACD
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CYBELE 60801CD
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$21.00
NOT IN STOCK, SPECIAL ORDER
Performed by Martin Schmeding, organ. "Tilo Medek's first works for organ, 'Verschüttete Bauernflöte' (1969) (buried rustic flute) and 'B-A-C-H, Vier Töne für Orgel' (1973) (Four Tones for Organ) were composed for the large organ at Merseburg Cathedral, and were inspired by its sound. Originally, the composition and the tonal character of the organ (which was constructed from 1853-1855 by Friedrich Ladegast using Baroque registers) was profoundly altered following comprehensive restoration by Kühne & Co. in 1963. In the process, Kühne replaced the typical Romantic stops, i.e. free reeds and numerous string registers, with neo-baroque pitches (high flutes like the rustic flute 1' in the pedal, Aliquot as well as mixed registers). Without passing judgement on these changes, it is important to emphasize that these colourful, even bizarre overtone mixtures and fundamental tones in the string colours are typical of Medeks early oeuvre. Medek's early works for the organ have another element in common: they experiment with sound and forms of notation. By switching the motor on and off, and half pulling off rows of register, he achieved microtonal sounds and variations of those tones. He confronted traditional methods of notation and values in this manner, with a variety of forms of free notation (i.e. spatial notation, graphic symbols and cluster-notation)." Stereo/multichannel hybrid SACD that can be played on any CD player.
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CD/SACD
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CYBELE 860701CD
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$21.00
NOT IN STOCK, SPECIAL ORDER
Featured works: "Aprikosenbäume Gibt Es, Aprikosenbäume Gibt Es" (for doublebass clarinet, violin, trumpet, cello, trombone and voice; 2004); "Ahi Bocca, Ahi Lingua" (for four vocal soloists; 1991/1994); "Schlaf, Schlaf, John Donne, Schlaf Tief Und Quäl Dich Nicht" (for violin, bass clarinet, accordion and keyboard; 1997). Performed by: Theo Nabicht (doublebass clarinet); The Hilliard Ensemble; Ensemble Ascolta; Ensemble Recherche: Karmen Mikovic (voice) and Jossif Brodskij (recitator). "The three pieces heard on this SACD, each of them a commission from WDR (West German Radio) for the Days of New Chamber Music in Witten, are musical observations of literary sources: texts by Inger Christensen, Rainald Goetz and Joseph Brodsky. The fact that these compositions follow no poetic scheme and are not 'set' to music is without question. Here, too, consistency is refuted: Riehm does not trim the music to conform to the semantics of the texts. Instead, speech and sound inhabit autonomous realms and every type of narrative doubling is removed." Stereo/5.0 channel surround sound Super Audio CD, can be played on any compact disc player.
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