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01. Orchester Jakobsplatz Munchen, Daniel Grossmann - Seven (1988) for flute, clarinet, percussion, piano, violin, viola, and violoncello
02. Orchester Jakobsplatz Munchen, Daniel Grossmann - Quartet I - From Quartets I-VIII (1976) for 24 instruments
03. Orchester Jakobsplatz Munchen, Daniel Grossmann - Quartet II - From Quartets I-VIII (1976) for 24 instruments
04. Orchester Jakobsplatz Munchen, Daniel Grossmann - Quartet III - From Quartets I-VIII (1976) for 24 instruments
05. Orchester Jakobsplatz Munchen, Daniel Grossmann - Quartet IV - From Quartets I-VIII (1976) for 24 instruments
06. Orchester Jakobsplatz Munchen, Daniel Grossmann - Quartet V - From Quartets I-VIII (1976) for 24 instruments
07. Orchester Jakobsplatz Munchen, Daniel Grossmann - Quartet VI - From Quartets I-VIII (1976) for 24 instruments
08. Orchester Jakobsplatz Munchen, Daniel Grossmann - Quartet VII - From Quartets I-VIII (1976) for 24 instruments
09. Orchester Jakobsplatz Munchen, Daniel Grossmann - Quartet VIII - From Quartets I-VIII (1976) for 24 instruments
ARTIST
TITLE
Seven/Quartets I-VIII
FORMAT
CD/SACD

LABEL
CATALOG #
NEOS 10720CD NEOS 10720CD
GENRE
RELEASE DATE
7/2/2013

Stereo/5.1 multichannel hybrid CD/SACD release that can be played on any CD player. Featured works: "Seven" (for flute, clarinet, percussion, piano, violin, viola and violoncello; 1988); "Quartets I-VIII" (for 24 instruments, 1976). Performed by: Orchester Jakobsplatz München, conducted by Daniel Grossmann. "John Cage's Quartets I-VIII is one of the most unusual and sophisticated orchestral works I know. It was written for the bicentennial of the United States of America. Cage used eight old American chorales, which he then reformed into an entirely new work with the help of the Chinese oracular work, the I Ching. The basic idea is to have just four instruments of the orchestra playing together at any time. As a result, new groups are constantly forming into variously composed quartets. Cage used the I Ching to determine which notes are played by a given instrument. The piece seems very simple from looking at the score. But in fact the fragmentary character of the instrumentation makes it a great challenge to perform. Every musician has to count precisely so as not to miss his or her entry. But the most difficult requirement is fitting the few notes to be played into the overall structure such that meaningful phrases ultimately result. Only by carefully listening to and following the music can players cause the piece to resound." --Daniel Grossmann