Articles tagged 'Takemitsu'
![](https://www.lafolia.com/wp-content/uploads/2021/02/atma_acdc22780.jpg)
Pièces de Clavecin 12: Old and New
McNabney reminds that much French Baroque music we associate with harpsichord may have originally been intended for other forces.
![](https://www.lafolia.com/wp-content/uploads/2021/02/atma_acdc22780.jpg)
Pièces de Clavecin 12: Old and New
McNabney reminds that much French Baroque music we associate with harpsichord may have originally been intended for other forces.
![](https://www.lafolia.com/wp-content/uploads/2017/06/cybele_960301-210x190.jpg)
Flutes
Psenitsnikova takes us through four varied pieces, three requiring tape or tape delay, from Fritsch who founded the Feedback Studio in Cologne.
![](https://www.lafolia.com/wp-content/uploads/2017/06/cybele_960301-210x190.jpg)
Flutes
Psenitsnikova takes us through four varied pieces, three requiring tape or tape delay, from Fritsch who founded the Feedback Studio in Cologne.
![](https://www.lafolia.com/wp-content/uploads/2013/01/tacet_01820-210x210.jpg)
Taking Random for a Walk
My too-early listening – at a low volume setting so as not to disturb Best Beloved – includes late-Feldman anything and, these days especially, Haydn’s string quartets most handsomely performed on the Tacet label by Auryn Quartet.
![](https://www.lafolia.com/wp-content/uploads/2013/01/tacet_01820-210x210.jpg)
Taking Random for a Walk
My too-early listening – at a low volume setting so as not to disturb Best Beloved – includes late-Feldman anything and, these days especially, Haydn’s string quartets most handsomely performed on the Tacet label by Auryn Quartet.
![](https://www.lafolia.com/wp-content/uploads/2012/11/viennamodernmasters_vmm306.jpg)
Solos and Underdogs
Low, breathy woodwind timbres are among my favorites (there’s a great passage in the first movement of Mahler’s Ninth), and the two double concertos offer ample room for dexterity and color.
![](https://www.lafolia.com/wp-content/uploads/2012/11/viennamodernmasters_vmm306.jpg)
Solos and Underdogs
Low, breathy woodwind timbres are among my favorites (there’s a great passage in the first movement of Mahler’s Ninth), and the two double concertos offer ample room for dexterity and color.