These two scores for films by Elem Klimov are wonderful discoveries… Both scores run rampant over moods and styles, and some may find the electric guitars and Esquivel-like flourishes a bit campy.
This revealing 2007 compilation reaches back to recordings from 1966-67 and 1983-84, which opened a largely neglected chapter of Czech music.
Eventually, Alexander Raskatov brought three movements to light from Schnittke’s illegible sketches, and offered his own Nunc dimittis as a concluding gesture.
Bursting like firecrackers, Solbiati’s two symphonies strike the listener as difficult works born of equally hard labor.
History has not treated Wolfgang’s father well. Adulation for the son comes at the expense of the elder teacher, composer, violinist and impresario.
Weiner completed his arrangement in 1955, and this is apparently the first recording. The challenges and decisions are huge.
Melding hymn tunes, microtones, complex canons and continuous glissandos, Coates’ riveting symphonies take the Ives highway but go off-road after Ligeti’s exit…
This auspicious recording, the first on the CSO’s own label, is a keeper to shelve near Horenstein’s beloved Third.
Sturm und Drang is back. You read it here first. We’re teetering on a new age’s cusp guaranteed to perturb old-timers who survived the historically informed practice movement.
“…[W]e still sorely missed the symphonie that Rameau never wrote. And so we created it ourselves.”