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Volledige opera's - Verschenen op 29 juni 2018 | Nonesuch

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice - Choc de Classica - 5 Sterne Fono Forum Klassik - Preis der deutschen Schallplattenkritik
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Klassiek - Verschenen op 27 mei 2011 | Nonesuch

Booklet Onderscheidingen 5 de Diapason - Choc de Classica - Uitzonderlijke Geluidsopnamen - Stereophile: Recording of the Month
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Klassiek - Verschenen op 16 april 2002 | Nonesuch

Hi-Res Onderscheidingen The Qobuz Ideal Discography - Hi-Res Audio
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Klassiek - Verschenen op 17 mei 2005 | Nonesuch

Onderscheidingen The Qobuz Ideal Discography
Naïve and Sentimental Music seems at first like a glib, almost self-deprecating title for a large-scale orchestral work. But that would be beneath John Adams, who has a knack for infusing his appealing soundscapes with weight and philosophy. In fact, Adams uses the word "sentimental" here to convey self-awareness, even self-consciousness. And so the title -- and indeed, the entire piece -- is a deliberate study in the balance and integration of opposites: innocence with perspective, spontaneity with design, and beauty with rhetoric. The result is a tremendous success; Naïve and Sentimental Music is a wealth of ideas sculpted into musical form and yet the listener needs no knowledge of these ideas to hear it to its fullest effect. Since Esa-Pekka Salonen gave Adams the commission that led to Naïve and Sentimental Music, it is no surprise that he and the L.A. Philharmonic deliver an outstanding performance on this Nonesuch release. Every layer of sound is beautifully textured and realized, from the strings -- sometimes icy, sometimes agitated -- to the evocative percussion that dots the entire score with color. David Tanenbaum's amplified guitar adds an especially interesting element to the second movement, "Mother of the Man"; he, Salonen, and the engineers should be complimented for integrating the guitar into the score while still allowing it to stand apart as an individual in a bigger world. The first and third movements are equally successful, each taking on its distinctive mood and character while at the same time feeling like part of a greater whole. This is, in every way, an outstanding recording. © TiVo
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Klassiek - Verschenen op 2 januari 2000 | Nonesuch

Onderscheidingen The Qobuz Ideal Discography
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Opera - Verschenen op 25 december 2006 | Nonesuch

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Klassiek - Verschenen op 25 september 2006 | Nonesuch

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Klassiek - Verschenen op 4 mei 1999 | Nonesuch

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Klassiek - Verschenen op 15 april 1987 | Nonesuch

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Wereldmuziek - Verschenen op 4 mei 2004 | Rhino - Warner Records

Composer John Adams' album Road Movies contains five pieces that Adams' considers "travel music, (...) passing through harmonic and textural regions as one would pass through on a car trip." Indeed, during Leila Josefowicz's spirited and appropriately brusque reading of the "40% Swing" movement from the title work, one hears what sounds like a passing auto in the left channel. Is it mere coincidence or the album concept channeling onto the master tape? Three of the pieces here appear on recordings for the first time, Road Movies for violin and piano (1995), Hallelujah Junction for two pianos, and American Berserk for piano (2001). The balance is given to the already familiar China Gates and Phrygian Gates played by pianists Nicolas Hodges and Rolf Hind, respectively, who join forces in the four-hand work. Actually, it's been a long time since there was a whole disc made up of chamber and/or keyboard works from Adams, who has been concentrating on orchestral music and pieces for ensembles. As such, this is a real treat -- the playing is expert on all counts, and the newer pieces sit comfortably side by side with the older ones, which are given a fresh perspective in these new recordings. While it may not be the album that never leaves your car stereo -- American Berserk is raucous enough that it could prove quite distracting during a traffic jam -- Road Movies is an immensely enjoyable collection that never runs out of gas. © TiVo
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Klassiek - Verschenen op 4 mei 2004 | Nonesuch

Composer John Adams' album Road Movies contains five pieces that Adams' considers "travel music, (...) passing through harmonic and textural regions as one would pass through on a car trip." Indeed, during Leila Josefowicz's spirited and appropriately brusque reading of the "40% Swing" movement from the title work, one hears what sounds like a passing auto in the left channel. Is it mere coincidence or the album concept channeling onto the master tape? Three of the pieces here appear on recordings for the first time, Road Movies for violin and piano (1995), Hallelujah Junction for two pianos, and American Berserk for piano (2001). The balance is given to the already familiar China Gates and Phrygian Gates played by pianists Nicolas Hodges and Rolf Hind, respectively, who join forces in the four-hand work. Actually, it's been a long time since there was a whole disc made up of chamber and/or keyboard works from Adams, who has been concentrating on orchestral music and pieces for ensembles. As such, this is a real treat -- the playing is expert on all counts, and the newer pieces sit comfortably side by side with the older ones, which are given a fresh perspective in these new recordings. While it may not be the album that never leaves your car stereo -- American Berserk is raucous enough that it could prove quite distracting during a traffic jam -- Road Movies is an immensely enjoyable collection that never runs out of gas. © TiVo
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Jazz fusion en jazz rock - Verschenen op 1 januari 2006 | Congruent Music Co

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Klassiek - Verschenen op 8 januari 2007 | Nonesuch

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Klassiek - Verschenen op 1 november 2005 | Nonesuch

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Klassiek - Verschenen op 22 november 2005 | Nonesuch

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Klassiek - Verschenen op 1 november 2005 | Nonesuch

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Klassiek - Verschenen op 23 januari 2007 | Nonesuch

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Wereldmuziek - Verschenen op 17 mei 2005 | Rhino - Warner Records

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Klassiek - Verschenen op 2 januari 2000 | Nonesuch - Warner Records

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Wereldmuziek - Verschenen op 17 mei 2005 | Rhino - Warner Records

Naïve and Sentimental Music seems at first like a glib, almost self-deprecating title for a large-scale orchestral work. But that would be beneath John Adams, who has a knack for infusing his appealing soundscapes with weight and philosophy. In fact, Adams uses the word "sentimental" here to convey self-awareness, even self-consciousness. And so the title -- and indeed, the entire piece -- is a deliberate study in the balance and integration of opposites: innocence with perspective, spontaneity with design, and beauty with rhetoric. The result is a tremendous success; Naïve and Sentimental Music is a wealth of ideas sculpted into musical form and yet the listener needs no knowledge of these ideas to hear it to its fullest effect. Since Esa-Pekka Salonen gave Adams the commission that led to Naïve and Sentimental Music, it is no surprise that he and the L.A. Philharmonic deliver an outstanding performance on this Nonesuch release. Every layer of sound is beautifully textured and realized, from the strings -- sometimes icy, sometimes agitated -- to the evocative percussion that dots the entire score with color. David Tanenbaum's amplified guitar adds an especially interesting element to the second movement, "Mother of the Man"; he, Salonen, and the engineers should be complimented for integrating the guitar into the score while still allowing it to stand apart as an individual in a bigger world. The first and third movements are equally successful, each taking on its distinctive mood and character while at the same time feeling like part of a greater whole. This is, in every way, an outstanding recording. © TiVo