Clementi and Silvestrov represent the late 20th century in its Janus-visaged splendor, two chiselers making the most of a ravaged and desolate toolkit – disparate fellow travelers.
Bustijn is perhaps the best or most accessible example we have today of Dutch music in the Baroque era. It is said that Bach possessed a copy of these Suittes.
Ingólfsson stakes a claim near the site that Romitelli quarried. The agile and luscious instrumental textures would have pleased Boulez.
It’s rare that a previously unheard work shakes up our conception: Journal Intime and Chantal can challenge an understanding of Ferrari’s worldview and work.
Each made significant recordings, important enough that the obscurity of their conductors is hard to understand.
Psenitsnikova takes us through four varied pieces, three requiring tape or tape delay, from Fritsch who founded the Feedback Studio in Cologne.
If Tosatti is encountered today, it is perhaps as Scelsi’s transcriber who momentarily popped up to claim a greater share of attribution.
Exercising a Stein fortepiano from 1799, Mitchell improvises brief thematic and harmonic transitions. These are mature Haydn sonatas, in which seemingly modest ideas are expertly probed.
This portrait disc reveals a consistency across several decades, a witty composer who admired Prokofiev and Classical forms.