Basel Sinfonietta

On this CD:

1. Fireworks (Feu D'artifice), fantasy for orchestra, Op. 4
Composed by Igor Stravinsky

Conducted by Joel Smirnoff

2. Aufbruch (Break Out) for 5 samplers & orchestra
Composed by Thomas Kessler

Conducted by Jurg Wyttenbach

3. Die Majestät der Alpen for orchestra
Composed by Werner Bartschi

Conducted by Jurg Wyttenbach

4. Concerto for Orchestra
Composed by Witold Lutoslawski

Conducted by Joel Smirnoff

Basel Sinfonietta, Music, Stravinsky/Lutoslawski/Bartschi/Kessler, Classical, Classical Composers, Classical Music, Electronic & Computer

Michael Gordon: Decasia
Average customer rating:

music that can stand on its own

It may not be cinematic, but the film was composed FOR the music.

Its not cinematic....

Terrifying

Totalism - Minimal Meets Xenakis

Michael Gordon: Decasia
Michael Gordon , Kasper De Roo , and Basel Sinfonietta
Manufacturer: Cantaloupe
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
Classical | Imports | Stores | Music
Similar Items:

Light Is Calling

Weather

Child

Trance

The Passing Measures

ASIN: B00006AWJH
Release Date: 2002-08-13

Customer Reviews:

music that can stand on its own.......2007-02-11

I am surely in the minority, but after having seen the live production I believe that Decasia would be more powerful without the visuals, which were added by Bill Morrison after Gordon wrote the music. I find that the film has a very ad hoc, eye candy quality, albeit a mind-blowing one. I think Decasia would be that much more scary and powerful and mind-blowing if it was experienced in the dark, with the audience surrounded by the scaffold-seated musicians. With a certain amount of indebtedness to Glenn Branca's dark sonic nightmares, Gordon has taken his manic development techniques to new lows, which is to say new heights.
This may be the 21st century's first entry in the Great American Symphony sweepstakes.

It may not be cinematic, but the film was composed FOR the music........2006-03-29

In regard to the review above that says the music has nothing to do with the video, it should be known that the film was made AFTER the music was composed. Decasia (when presented with music and film) is not a box office movie, but rather a work of art, and as such the music or the video do not need to be mirror images of each other. The music adds to the film, and the film adds to the music. The idea that the two should be exactly the same comes from our traditional cinematic constructs--which create art for the sole purpose of making money (e.g. Horror Movies, Britney spears etc.). The ethos behind Decasia is not financially driven, but is rather a purely artistic one.

Now that I've made that point, I can say that Decasia is a fabulous work of art. Gordon's orchestration is formidable--thick, loud, and at times cacophonous. Obviously, Gordon doesn't view decay as a soft and delicate process. These clamoring sounds are partially created by having the orchestra tuned to three different pitches. A third of the orchestra is tuned to A=440 (or 442), a third is tuned a quarter-tone lower, and the last third is tuned a quarter tone above 440. The ending result creates a sharp dissonance resulting from the rapid oscillation of three different pitch centers.

I find that minimalism can frequently get boring due to the repetitiveness, but Gordon keeps everything interesting through unique orchestration, harmony, and a varied plethora of minimalist subjects. The music is very haunting, and hypnotizing. I recommend this recording to anyone looking for something new.

Its not cinematic...........2005-07-17

If there is one major problem with the post-Mahlerian totalist composition 'Decasia', is that it is not cinematic music. Originially composed for a film about the decay of past cinematic film fragments, and I suppose, our collective memory, the music evokes little, or nearly no mental imagery when listening to it. Hence it is not cinematic. And I listenened to it before I watched the film and its lack mental imagery heightened my curiosity to see the film and watch what images the composer was framing with music. The music somewhat depicts a factory but (later) has no ethnic flavor - there is a segment with a Turkish whirling dervish but no beat or rhythm or melody associated with the culture. Nor does the composer paint an image of the past silent films; heaven forbid, he wastes many opportunities to awaken nostalgia for the quieter times of 'silent' films and the lonely piano player plunking away at what he/she is seeing. Plus the film maker had many moments of aleatoric imagery which reminded me of a blend of biomorphic images that could have been painted by Yves Tanguay and Joan Miro. Was there any aleatoric music to 'sync' with the images? No. Not to be too literalistic, but the music seems to just steam-roll over the film with little reference to the images unfolding in front of your eyes. And the music is orchestrated too densely and overwelms the images; I most fervently believe this music should not be post-Mahlerian but should be rescored for a chamber orchestra ensemble - minus the electronics, because the score works best at its most reduced (spare) musical moments. I do not like to compare one composer to another but Michael Gordons' effort is not equivalent to the memorable film scores composed by Phillip Glass. Glass's music thrusts forward in time while Gordons' static composition flows like Molassis.

If you are getting (sic) the idea that I found this music, in conjunction with the images, or for that matter, the music alone, dissappointing, you are correct. Away from the film I found the music an excruciating listening experience and had a tough time listening to it. If you are thinking I am some sort of music wimp who runs from modernist music you are wrong: I own about 1,000 discs and most of them are contemporary classical, modernist, and twentieth century with an emphasis on music from the northern forebidding countries of Europe and the former Soviet Union. My favorite composer is Shostakovich (speaking of a great post-Mahlerian, film-music composer). My dislike for this composition stems from lost opportunities, (perceived) unimaginative moments and heavy-handed scoring.

On the plus side I found the music strangely, and painfully, memorable and encourage you to listen to it and decide for yourself. If you wanted to kill two birds with one stone rent the film DVD, and if your DVD player is connected to a stereo, first play the disc with the TV off. Afterwards turn the TV on and watch the music in conjunction with the video. If you then find it to your liking, purchase one or both because I realize you might just like it. As for myself, I will not listen to it often.

An after thought: what do you ask, or at least you may be thinking, is this authors' favorite film music? A: Howard Shore's soundtrack from David Croenberg's movie CRASH. It consists of strummed guitars, one flute and a small ensemble of strings. The orchestration is transparent; the music haunting, seductive and memorable. I wish I could say the same for Decasia.

Terrifying.......2005-06-10

My oldest son, aged 11, likes to have the radio on quietly (classical music) as he sleeps at night. One night I had to get up to turn the level of his radio down - it was so loud. But my son was fast asleep. What was this music I wondered? Was it that famous Honneger piece about trains? When I returned to my bed I put my radio on (earpieces so I didn't disturb my wife) and listened to see what was being broadcast. It went on and on. It clearly wasn't Honneger. But what was it? Steve Reich? It didn't develop, although it did change from time to time - it persisted. Gradually I became overwhelmed by the music. Was it music at all? It terrorised me. I had to turn it off - I could listen no more. But then I had to go back - I had to find out what it was. But I could only listen with one earpiece - I couldn't stand this sound enveloping me totally. I was, of course, half asleep - perhaps far more sensitive than I might normally have been.

I did find the sound compelling - and still I heard train sounds - steam trains - and, perhaps huge factory machines. I'm not sure about decay. But be warned, you, like me, might be terrorised as I was - enormously unsettled. Will I ever listen to it again? I am unsure. But it is certainly not something I will forget in a hurry.

Totalism - Minimal Meets Xenakis.......2002-12-31

This CD is my first introduction to the music of Michael Gordon, one of the founding triumverate of New York's Bang on a Can. Judging by this release I've missed something quite special.

Tracks:

Allegro Non Troppo
Molto Adagio
Allegro Assai
Boisterous Bourree
Playful Pizzicato
Sentimental Saraband
Frolicsome Finale
Passacaglia
'Touch Her Soft Lips And Part'
Vivace
Arioso
Rondo

Stravinsky: The Rite of Spring; Card Game; Concerto in D major

Average customer rating:

amazing

Stravinsky: The Rite of Spring; Card Game; Concerto in D major

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
ASIN: B00000146E
Release Date: 1995-05-09

Tracks:

Part I: The Adoration Of The Earth - Alexander Rahbari
Part II: The Sacrifice - Alexander Rahbari
First Deal: Alla Breve - Moderato Assai - Tranquillo - Alexander Rahbari
Second Deal: Alla Breve - Marcia - Variazioni I-V - Coda - Marcia - Alexander Rahbari
Alla Breve - Valse - Presto - Tempo Del Principo - Alexander Rahbari
Vivace - Bournemouth Sinfonietta
Arioso - Bournemouth Sinfonietta
Rondo - Bournemouth Sinfonietta

Customer Reviews:

amazing.......2003-10-13

Alexander Rahbari is very good on this recording, especially in "Le Sacre du Printemps"

Tempi are good, solos of woodwinds and brass very good, percussion group is excellent.

Jeu de cartes (Stravinsky's not too famous ballet like Agon) is also very good.

Tracks:

Sinf No.11 Op.214 'Der Winter' in a: Der erste Schnee. Allegro - RSO Basel/Mario Venzago
Sinf No.11 Op.214 'Der Winter' in a: Allegretto - RSO Basel/Mario Venzago
Sinf No.11 Op.214 'Der Winter' in a: Am Kamin. Larghetto - RSO Basel/Mario Venzago
Sinf No.11 Op.214 'Der Winter' in a: Karneval. Allegro - RSO Basel/Mario Venzago
Sinf Op.188 in F: Allegro - RSO Basel/Andres Joho
Sinf Op.188 in F: Allegro molto - RSO Basel/Andres Joho
Sinf Op.188 in F: Larghetto - RSO Basel/Andres Joho
Sinf Op.188 in F: Vivace - RSO Basel/Andres Joho

Customer Reviews:

Charming Raff.......2000-01-28

This is yet another charming release of music by the unfortunately neglected Joachim Raff. That such delightful music could fall into obscurity is an incredible shame.

The big ticket item on this disc is Raff's last symphony and the finale to his cycle of symphonies based on the seasons. The 11th is the "Winter" symphony but there is little cold about this piece. The wind swirls occasionally, but generally we're treated to the play of children in the snow and the joy of cocoa by the fire place. It's lightweight fare, but pleasingly orchestrated and well played.

The true reason to buy this disk is the wonderful Sinfonietta for Winds. Charming in every way, this piece includes a spooky scherzo, and rollicking finale and a soulful larghetto which includes a melody that Bruckner (of all people) was to mimic in the Adagio of his last symphony.

Tracks:

Feuerwerk (Feu D'Artifice) Op. 4
Aufbruch - Fur 5 Sampler Und Orchester
'Die Majestat Der Alpen' - Fur Grosses Orchester
Konzert Fur Orchester: Intrada: Allegro Maestoso
Konzert Fur Orchester: Capriccio Notturno E Arioso
Konzert Fur Orchester: Passacaglia, Toccata E Corale

Stravinsky: Apollon Musagète; Concerto in D; Cantata

Average customer rating:

very powerfull
One of the Finest of the Salonen Stravinsky Recordings
If I could only listen to one CD for the rest of my life....
if you like Stravinsky, don't miss this CD !

Stravinsky: Apollon Musagète; Concerto in D; Cantata

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B0000027BW
Release Date: 1991-09-06

Tracks:

Apollo (Apollon musagete): First Scene (Prologue): Apollo's Birth
Scene 2: Apollo's Variation
Scene 2: Pas D'action
Scene 2: Calliope Variation
Scene 2: Polyhymnia Variation
Scene 2: Terpsichore Variation
Scene 2: Apollo's Variation
Scene 2: Pas De Deux
Scene 2: Coda
Scene 2: Apotheosis
Concerto In D For String Orchestra: I. Vivace
Concerto In D For String Orchestra: II. Arioso: Andantino
Concerto In D For String Orchestra: III. Rondo. Allegro
Cantata: A Lyke-Wake Dirge. Versus I. Prelude
Ricercar I: The Maidens Came
Cantata: A Lyke-Wake Dirge. Versus II. First Interlude
Ricercar II: Sacred History
Cantata: A Lyke-Wake Dirge. Versus III. Second Interlude
Westron Wind
Cantata: A Lyke-Wake Dirge. Versus IV. Postlude

Customer Reviews:

very powerfull.......2005-06-18

i have heard many interpatations of these pieces. this offers the best of two worlds.first its reading renders one of the best offerings the london sinfonietta has ever done with these works, two the sound quaility is perfect and very powerfull . the combination of the orchestra and the recording tech create a perfect unison in this juxtaposition

One of the Finest of the Salonen Stravinsky Recordings.......2005-02-19

For all the penetrating performances of the 'big pieces' by Igor Stravinsky for which conductor Esa-Pekka Salonen is so closely associated, this recording of small chamber works is astonishing clear, clean, and wondrously romantic. The first two works for strings alone find Salonen with the superb Stockholm Chamber Orchestra under his baton. The Cantata moves to the London Sinfonietta and Chorus with Salonen's usual soloists for these Sony Recordings of the early 1990s - John Aler and Yvonne Kenny.

'Apollon Musagete' is from Stravinsky's 'neo-classical period', a time when he elected to study old forms and wash them through his own vocabulary. The work is some of the most beautifully sensuous music from his output. Salonen gives an impeccable, languid, seamless performance of this moving work here. The same holds for the 'Concerto in D for String Orchestra', which returns to some of the wit and bite of Stravinsky's other works from this period. These two works are his only works for strings alone.

The 'Cantata' is a too rarely performed chamber piece for tenor, soprano, small women's chorus, and flute, oboe, English horn and cello providing the setting for English poems from the 15th and 16th centuries. It was composed immediately after Stravinsky's big opera 'The Rake's Progress' and serves as his final work form the neo-classical period of composition. The performance here is clean, clear, and poignant. There are references to the 'Symphony of Psalms' and 'Oedipus Rex' and it is indeed a treat to have such a definitive performance on record.

For those unfamiliar with this period of Stravinsky's output there could be no better introduction. This is one of those recordings to cherish as echt Stravinsky - as we have come to expect from Salonen! Grady Harp, February 2005

If I could only listen to one CD for the rest of my life...........2001-10-27

I would have to seriously consider this one. I have spent four months attempting to track down the best overall performance of Apollo, and have come to the conclusion that this is it. The performance is spirited and the sound is immaculate. The only complaint that one could have is that the final cadence to the First Act is in half-time compared to other performances, and as all of the other recordings I have heard follow this guideline, I can only assume that Mr. Salonen doctored the score. However, this is a small price to pay for the privelege of hearing the finest piece of music a mortal can hope for. I once thought that all of music was a grand lie perpetrated on the masses by sick artists concerned solely with their own glorification: this piece reached out to me as I lay dying in the gutter of modern consumer culture and bid me to love music again. The surest cure for modernity and a call to a greater human destiny...

if you like Stravinsky, don't miss this CD !.......2000-12-07

...and if you don't, you might change your mind.

"Apollon Musagète" is a melodic, gorgeous piece for strings created for a ballet in 1927, choreographed by George Balanchine. It's themes weave and flow into each other, with some parts having marvelous rhythmic patterns.

"Concerto in D for String Orchestra", written in the mid 40's was used by Jerome Robbins for his ballet "The Cage" (about the mating habits of spiders !) in 1951. This incredible piece, though seldom heard unless performed as "The Cage" is fabulous. For the sensual "Arioso: Andantino" alone it's a must to have.

The beauty of "Cantata" is in a different style. Composed in '51, it's much more "modern". Either because as a student of Balanchine I'm more familiar with the ballet compositions, or because of all languages for singing, English is my rock-bottom least favorite, this piece is not as close to my heart as the first two selections. Nevertheless, I appreciate its loveliness, and its purity of sound.

The performance by Esa-Pekka Salonen, one of our greatest living conductors, is absolutely impeccable, and the booklet is in 4 languages and contains the verses for the "Cantata", which are 15th and 16th Century anonymous popular lyrics. Total running time for this CD is 62'08.

Kammerorchesterbasel - Stravinsky: Suites Nos. 1 & 2 for small orchestra, Miniatures & Songs, etc./ Tippett: Divertimento on "Sellinger's Round" / Britten: Sinfonietta Op. 1
Average customer rating:

An Overlooked Delectable Recording

Kammerorchesterbasel - Stravinsky: Suites Nos. 1 & 2 for small orchestra, Miniatures & Songs, etc./ Tippett: Divertimento on "Sellinger's Round" / Britten: Sinfonietta Op. 1

Manufacturer: Arte Nova
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00006JYGQ

Album Details

In his Recording Project "Modern Classicism" Christopher Hogwood, One of the Most Important Figures in the Field of Interpretation of Early Music, Appears on Completely Different Musical Terrain. The Kammerorchester Basel Has One of Its Focusus on Music of the 20h Century, Giving Preference to Compositions Created as Works Commissioned by the Great Swiss Patron of Music, Paul Sacher. This Recording Gains Particular Appeal from Co-operation with Unrivalled Soprano Singer Emma Kirkby in Different Pieces by Igor Stravinsky.

Customer Reviews:

An Overlooked Delectable Recording.......2006-04-22

Christopher Hogwood conducts the Kammerorchester Basel in a selection of music from the influence of Paul Sacher, music from three composers represented here by works rarely performed, much less recorded. There is no other extant recording of the thoroughly delightful Stravinsky Suites Nos. 1 and 2 written after the success of his ballet Pulcinella and drawn from similar inspiration from the characters of the work and the music ideas of Pergolesi. Both Suites are full of inventive ideas, humor, tongue in cheek moods, and deserve frequent performances. Hogwood draws just the right flavor form his Swiss ensemble.

Stravinsky is further represented by the finale from 'The Rake's Progress' and 'Miniatures' and 'Songs' and here Hogwood has wisely selected the brilliant soprano Emma Kirkby as soloist.

The Michael Tippett 'Divertimento on Sellinger's Round' is well performed but is not one the composer's stronger pieces. The recording is crowned by a taut and elegant performance of Benjamin Britten's early 'Sinfonietta, Opus 1, a work which suggests many of the idea that later would gel in Britten's powerful output. It is a fitting ending to a fine recital! Grady Harp, April 06

Average customer rating:

Maria de Alvear: Sexo

Manufacturer: World Edition
ProductGroup: Music
Binding: Audio CD

Classical | Indie Music | Stores | Music

General | Classical | Styles | Music
ASIN: B0008EJZ36
Release Date: 2005-04-01

Tracks:

Sexo (Death, Rage, Life) [68:41]

Stravinsky: Apollon musagète; Basel Concerto in D

Average customer rating:

Stravinsky: Apollon musagète; Basel Concerto in D

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000004229
Release Date: 1994-07-19

Tracks:

Con in E flat 'Dumbarton Oaks': I. Tempo giusto
Con in E flat 'Dumbarton Oaks': II. Allegretto
Con in E flat 'Dumbarton Oaks': III. Con moto
Danses concertantes: I. Marche: Intro
Danses concertantes: II. Pas d'action
Danses concertantes: III. Theme varie
Danses concertantes: IV. Pas de deux
Danses concertantes: V. Marche: Conclusion
Con in D: I. Vivace
Con in D: II. Arioso
Con in D: III. Rondo
Apollon musagete, Premier tableau: Prologue Naissance d'Apollon
Apollon musagete, Second tableau: Var d'Apollon: Apollon & les Muses
Apollon musagete, Second tableau: Pas d'action: Apollon & les trois Muses
Apollon musagete. Callipoe, Polymnie et Terpsichore: Var de Calliope (l'Alexandrin)
Apollon musagete. Callipoe, Polymnie et Terpsichore: Var de Polymnie
Apollon musagete. Callipoe, Polymnie et Terpsichore: Var de Terpsichore
Apollon musagete. Callipoe, Polymnie et Terpsichore: Var d'Apollon
Apollon musagete. Callipoe, Polymnie et Terpsichore: Pas de deux: Apollon & Terpsichore
Apollon musagete. Callipoe, Polymnie et Terpsichore: Coda: Apollon & les Muses
Apollon musagete. Callipoe, Polymnie et Terpsichore: Apotheose

Amazon.com

Most of this music calls for the kind of elegance Charles Dutoit and his Montreal Symphony (of which this is obviously an offshoot) have provided on many other recordings. Apollo sounds particularly fine in this treatment, a loving performance of a Stravinsky ballet that deserves to be better known. The remaining pieces, with their "neoclassical" adaption of Baroque style, are usually played with stronger emphasis on their rhythmic qualities than Dutoit wants. As a result they sound a bit soft-edged here. They don't sound bad, just different. And especially with the gorgeous Apollo, this generous collection (78:24) earns a strong recommendation. --Leslie Gerber