Streaming ilimitado
Escuche este álbum ahora en alta calidad en nuestras apps
Comenzar mi periodo de prueba gratis y escuchar este álbumDisfrute de este álbum en las apps Qobuz con sususcripción
SuscribirDisfrute de este álbum en las apps Qobuz con sususcripción
Idioma disponible: inglés
Here, the graphics inform, is a "reframing" of Olivier Messiaen's Quartet for the End of Time, the majuscule not being sufficiently hip for the concept. How is it usually "framed?" By, according to cellist Matt Haimovitz, "the confines of a normal chamber music performance," although the work's first performance, in a German prisoner-of-war camp, was anything but normal. The honoree designated by the title was clarinetist Henri Akoka, the original performer of the work's clarinet part. He was an Algerian-born Jew who seemed to be in mortal danger even as Messiaen himself was being released, but survived by leaping from a train with his clarinet and making his way to occupied Marseille. Akoka is apparently the subject of the program's stated aim of bringing out "the human aspect of this composition seen through the eyes of one individual caught up in terrifying events beyond his control." Deployed in support of this aim are a prelude, Akoka, by clarinetist David Krakauer, in a sort of extended klezmer language, and a postlude, the electronic collage by hip-hop artist socalled, which samples the quartet itself and adds beats, bits of radio broadcasts, and Jewish singing. In between these works are the eight movements of the Quartet for the End of Time itself, electronically amplified. There is nothing wrong with these ideas in themselves, and the obvious analogues between hip-hip and concert-music collage techniques remain to be fully explored.
© James Manheim /TiVo
Está escuchando muestras.
Escuche más de 100 millones de pistas con un plan de streaming ilimitado.
Escuche esta playlist y más de 100 millones de pistas con nuestros planes de streaming ilimitado.
Desde USD 4,19/mes
Akoka (David Krakauer)
David Krakauer, Composer, clarinet - Jonathan Crow, violin - Matt Haimovitz, violoncello - Geoffrey Burleson, piano
(C) 2017 PENTATONE (P) 2017 PENTATONE
Quatuor pour la fin du temps, I/22 (Olivier Messiaen)
David Krakauer, clarinet - Jonathan Crow, violin - Matt Haimovitz, violoncello - Geoffrey Burleson, piano - Olivier Messiaen, Composer
(C) 2017 PENTATONE (P) 2017 PENTATONE
David Krakauer, clarinet - Jonathan Crow, violin - Matt Haimovitz, violoncello - Geoffrey Burleson, piano - Olivier Messiaen, Composer
(C) 2017 PENTATONE (P) 2017 PENTATONE
David Krakauer, clarinet - Jonathan Crow, violin - Matt Haimovitz, violoncello - Geoffrey Burleson, piano - Olivier Messiaen, Composer
(C) 2017 PENTATONE (P) 2017 PENTATONE
David Krakauer, clarinet - Jonathan Crow, violin - Matt Haimovitz, violoncello - Geoffrey Burleson, piano - Olivier Messiaen, Composer
(C) 2017 PENTATONE (P) 2017 PENTATONE
David Krakauer, clarinet - Jonathan Crow, violin - Matt Haimovitz, violoncello - Geoffrey Burleson, piano - Olivier Messiaen, Composer
(C) 2017 PENTATONE (P) 2017 PENTATONE
David Krakauer, clarinet - Jonathan Crow, violin - Matt Haimovitz, violoncello - Geoffrey Burleson, piano - Olivier Messiaen, Composer
(C) 2017 PENTATONE (P) 2017 PENTATONE
David Krakauer, clarinet - Jonathan Crow, violin - Matt Haimovitz, violoncello - Geoffrey Burleson, piano - Olivier Messiaen, Composer
(C) 2017 PENTATONE (P) 2017 PENTATONE
David Krakauer, clarinet - Jonathan Crow, violin - Matt Haimovitz, violoncello - Geoffrey Burleson, piano - Olivier Messiaen, Composer
(C) 2017 PENTATONE (P) 2017 PENTATONE
Meanwhile… (Socalled)
David Krakauer, clarinet - Geoff Nuttall, Performer - Matt Haimovitz, violoncello - Frederic Chiu, piano - Socalled, Composer, Performer
(C) 2017 PENTATONE (P) 2017 PENTATONE
Presentación del Álbum
Here, the graphics inform, is a "reframing" of Olivier Messiaen's Quartet for the End of Time, the majuscule not being sufficiently hip for the concept. How is it usually "framed?" By, according to cellist Matt Haimovitz, "the confines of a normal chamber music performance," although the work's first performance, in a German prisoner-of-war camp, was anything but normal. The honoree designated by the title was clarinetist Henri Akoka, the original performer of the work's clarinet part. He was an Algerian-born Jew who seemed to be in mortal danger even as Messiaen himself was being released, but survived by leaping from a train with his clarinet and making his way to occupied Marseille. Akoka is apparently the subject of the program's stated aim of bringing out "the human aspect of this composition seen through the eyes of one individual caught up in terrifying events beyond his control." Deployed in support of this aim are a prelude, Akoka, by clarinetist David Krakauer, in a sort of extended klezmer language, and a postlude, the electronic collage by hip-hop artist socalled, which samples the quartet itself and adds beats, bits of radio broadcasts, and Jewish singing. In between these works are the eight movements of the Quartet for the End of Time itself, electronically amplified. There is nothing wrong with these ideas in themselves, and the obvious analogues between hip-hip and concert-music collage techniques remain to be fully explored.
© James Manheim /TiVo
Acerca del álbum
- 1 disco(s) - 10 pista(s)
- Duración total: 01:03:40
- 1 Libreto digital
- Artistas principales: David Krakauer
- Compositor: Various Composers
- Sello: PentaTone
- Género Clásica Música de cámara
(C) 2017 PENTATONE (P) 2017 PENTATONE
Mejorar la información del álbum