Судя по разнице в звучании (акустика, баланс записи, и т.д.), кажется прелюдии собраны с разных записей. Хотел спросить если в буклете дана информация о датах записей, и был бы очень признателен если вы могли бы поделиться этой информацией (коли таковая имеется, разумеется).
Я, честно говоря, сам до сих пор не сформировал устойчивого мнения о Хенце как композиторе. Но продолжаю возвращаться к его музыке, которая каким-то образом требует от меня дополнительного ознакомления. Его Реквием (инструментальное произведение) который я недавно услышал впервые меня впечатлил больше чем какие-либо из его других произведений (кроме Тристановских Прелюдий и Ф-ного Концерта). По этому я решил что стоит ещё раз "пройтись" по его симфониям и квартетам.
Один из самых привлекательных композиторов ранней атональной музыки. Его скрипичный концерт не менее лиричен чем концерт Берга, и я продолжаю возвращаться к его музыке с неуменьшаемым интересом и удовольствием. Горячо рекомендую любителям музыки Берга и Шёнберга.
Boulez recorded Handel's "Water Music" and "Music for Royal Fireworks" with New York Philharmonic in the 1970s for CBS label. It was issued on CBS "Great Performances" CD long time ago.
Iz zhurnala "Gramophone" ob pervichnom vipuske na Lp :
HAYDN. KEYsoARD SONATAS. Walter Klien (piano). Vox Q VBX75/1-3 0 SVBX575/1-3 (three 12 in., 68s. 6d. plus 12s. lid. PT). Keyboard Sonatas: No. 35 in C major; No. 34 in E minor; No. 20 in C minor; No. 39 in G major; No. 36 in C sharp minor; No. 37 in D. major ; No. 44 in G minor; No. 45 in E flat major; No. 52 in E flat major; No. 46 in A flat major; No. 38 E flat major. This is the third Vox Box of Haydn piano music, and there is presumably one more to come. It now looks as though there is to be a different pianist for each Box. In the new set there are two sonatas a side except that Haydn's last and longest sonata, No. 52 in E flat, has a whole side to itself. First repeats in sonata-form movements are made, and all shorter ones, except in No. 46 in A flat, where repeats appear to be cut for reasons of space. The sonatas listed above look as though they were mostly written fairly late in Haydn's career, but the generally accepted enumeration is misleading. Nos. 44, 45, and 46 are now thought to date from 1766-7, though they were not published till 1788. Complete recordings such as this often result in the inclusion of dull music, and No. 45 is very dull; Haydn manages to begin each of the three movements with a wholly unmemorable tune. But earliness by no means implies poor quality; No. 46 i3 a splendid work all through, while No. 20 in C minor has long been recognized as a landmark in the history of piano music. I do not think Walter Klien has as much natural feeling for Haydn as Miss Rena Kyriakou on the Vox Box I wrote about recently. Often he seems to be trying too hard, over-accenting and exaggerating the phrasing, just as though he was afraid the music might sound dull unless he did something about it. The style suits Haydn's last and biggest sonata pretty well, but some of the slighter ones don't respond to what you might call a Beethoven approach. For example, the last movement of No. 34 in E minor is marked innocentemente, and Haydn clearly wants simple, relaxed playing without any sophisticated touches of 'interpretation'. Walter Klien pushes the movement along, as though trying to galvanize it into action. His most extreme moments of exaggeration occur in the adagio bars that twice interrupt the opening allegro of No. 20 in C minor; each note takes an eternity. Mr Klien is often at his best in the slow movements, which he plays with feeling and, intermittently, with restraint. The minuet finale of the C sharp minor (No. 36) is also nicely done, and seems more interesting than usual. This pianist can be very dextrous over a presto finale, and he has a beautifully clean trill. He uses a good text of the sonatas, and even adds a few notes of cadenza near the end of the slow movement of No. 46. He is especially good in the first movement of No. 52, which is full of feeling, the second subject crisp and to the point, and though he does not quite convey the tenderness of the marvellous slow move- ment, this is an enjoyable performance. The other E flat, No. 38, also goes well, apart from some bumping of accents in the finale; this too is a splendid work. The piano quality is more immediate than on the previous Vox Box, and there is more 'top' to the sound, but I noticed a number of faint traces of distortion, notably in the last movement of No. 39 and in the slow one of No. 37. At the very beginning of Side 4 (No. 44 in G minor) there is a cavity in my pressing and the first dozen bars or so are unplayable. R.F.
Дык то же самое небось говорили и про Шёнберга, и про Р. Штраусса (Саломея), да и про Бетховена тоже (один Венский критик описал исполнение его симфонии как процесс шмяканья о пол мешками полными гвоздей)
Если Якутские народные песни (и шедевры Идиш эстрады) могут делить ленту с Бахом и Штокхаузеном, то тогда пора включить также песнопения птиц, китов и других представителей фауны. А потом уже просто "звуки Амазонских джунглей" и "журчание ручейка в Тригорском".
Ведь утверждал же авангардный теоретик музыки Джон Кэйдж что произвольные звуки окружающей среды являются не менее "музыкальными" чем кропотливо выписанные прелюдии и фуги, сонаты, квартеты и симфонии различных музыкальных умельцев...
Reimann, Aribert (b Berlin, 4 March 1936). German composer and pianist. He attended the Berlin Hochschule für Musik, where his father was head of church music and his mother a teacher of singing, studying composition with Blacher, counterpoint with Pepping and the piano with Otto Rausch. In the late 1950s he began to establish a reputation as a distinguished Lieder accompanist, appearing with soloists such as Dietrich Fischer-Dieskau, Ernst Haefliger, Elisabeth Grümmer and Barry McDaniel. He has also served as professor of composition at the Hochschule der Künste, Berlin. His honours include membership in the Academy of the Arts, Berlin (1971), the Bavarian Academy of Fine Arts, Munich (1976) and the Free Academy of the Arts, Hamburg (1965). He was awarded the Grand Cross of Merit of the Verdienstorden, Federal German Republic (1985), the composition prize of the Prince Pierre Foundation, Monaco (1986) and the Frankfurt music prize (1991). In 1993 he was appointed to the German order Pour le Mérite.
Reimann’s stylistic language, influenced by the music of Webern, inclines towards complexity, strict organization and tight concentration. Seemingly flexible structures, first present in the song cycle Engführung (1967), also appear, created through the use of unmetred segments of material and figurative, ornamental formulations that produce the illusion of spontaneity. Drawn to the music dramas of Wagner and the theatrical works of Weill, Hindemith and Debussy from an early age, he developed his strongest affinity for Berg’s stage works. His first opera, Ein Traumspiel, was completed in 1965. Later in Lear (1978) he contrasted powerful orchestral eruptions, made up of tone clusters, and sonorities and gestures derived from jazz, with 12-note writing for string quartet or delicate instrumental dialogue. In both his vocal and instrumental writing, highly complex lyricism and virtuosity are combined with subtly differentiated tone colours. Nightpiece (1992) for soprano and piano juxtaposes tone clusters, plucked notes of a metallic timbre and figurative passages in high registers.
Один из немногих примеров того, что додекафоническое произведение может быть не менее очароватеьным и солнечным чем музыка Гайдна :)) Поразительно (и печально), что эта опера не исполняется так же часто как Штраусовские "Интермеццо" и "Капричио"...
Orchestre Radio Television France/Sergiu Celibidache - Paris 16 October 1974 - Arkadia HP 609.1, Arlecchino ARLA 06, Music and Arts CD-296, Music and Arts CD-4296
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Помощь тяжело больным детям. 
ПОГРУЖЕНИЕ В КЛАССИКУ. Здесь живет бесплатная классическая музыка в mp3 и других форматах.