Complete Works

作曲 Edgar Varèse , 指揮 Riccardo Chailly , オーケストラ Amsterdam Concertgebouw Orchestra , オーケストラ Asko Ensemble , Piano François Kerdoncuff , Soprano Sarah Leonard , Soprano Mireille Delunsch , Vocals Prague Philharmonic Choir
価格: (税込)
JAN:0028946020821 売上ランキング:音楽で36038位

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Disc : 1
  1. Tuning Up
  2. Amériques (Original Version)
  3. Poème Électronique
  4. Arcana
  5. Nocturnal
  6. Un Grand Sommeil Noir (Orchestral Version)
Disc : 2
  1. Un Grand Sommeil Noir (Original Version)
  2. Offrandes: Chanson de là-haut
  3. Offrandes: La Croix du Sud
  4. Hyperprism
  5. Offrandes: Assez lent
  6. Offrandes: Très vif et nerveux
  7. Offrandes: Grave - Animé et jubilatoire
  8. Intégrales
  9. Ecuatorial
  10. Ionisation
  11. Density 21.5
  12. Déserts: 1st Episode
  13. Déserts: 1st interpolation of organized sound
  14. Déserts: 2nd episode
  15. Déserts: 2nd interpolation
  16. Déserts: 3rd episode
  17. Déserts: 3rd interpolation
  18. Déserts: 4th episode
  19. Dance for Burgess
For a composer who is (now) recognizably part of the 20th-century classical canon, the French émigré Edgard Varèse's output was astoundingly meager. Just 15 compositions from his entire life (he destroyed the compositions from his early years, and was a merciless editor of his own material in general) made it out to the listening world. Varèse was caught in the chasm between the music of yesterday and the music of tomorrow: scoring music for modified theremin, steamboat whistles, or air sirens, all balanced with the force of a large orchestra; writing pieces based on the flows of water and wind because that's what shapes the earth; using the concepts of chemical reactions and specific gravity as a basis for his music. Using extremes of contrast, dissonance, and variety in sound, Varèse's pieces had power in the way he attacked and shaped the sound he imagined. From Ionisation (1929), scored almost entirely for unpitched percussion, to the electronic-only, three-dimensionally produced Poeme Electronique (1958), he's provided a foundation that many genres, musicians, and composers were to build from not only for the next 40 years, but inevitably beyond. --Robin Edgerton