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Debussy, Cage, Takemitsu : Œuvres pour piano. Arnold.
Format : 1 CD Digipack
Total Time : 01:09:20

Recording : 2008-2018
Location : Meinerzhagen/Wuppertal/Cologne
Country : Allemagne
Sound : Stereo

Label : AVI Music
Catalog No. : AVI8553257-2
EAN : 4260085532575
Price Code : DM021A

Publishing Year : 2018
Release Date : 01/06/2018

Genre : Classical
Claude Debussy (1862-1918)
"Images", Livre I, L 110
Reflets dans l'eau
Hommage à Rameau
Mouvement
Extraits de "Préludes", Livre I
Danseuses de Delphes
Voiles
Le Vent dans les plaines
Ce qu'à vu le vent d'Ouest
Extraits de "Préludes", Livre II
Les fées sont d'exquises danseuses
Canope
Feux d'artifice

Toru Takemitsu (1930-1996)
Piano Distance
Pause ininterrompue, d'après un poème de Shuzo Takiguchi

John Cage (1912-1992)
Sonates pour piano préparé
n°2
n° 5
n° 6
n° 7
n° 8
Troisième interlude pour piano préparé

Sheila Arnold, piano

Claude Debussy left a profound mark on music history when he dissolved functional harmony under the influence of the music of the Far East. Toru Takemitsu had to distance himself from his own culture in order to listen to Japanese music with the ears of a Western-trained musician – adopting, for instance, the approach of John Cage. He came to realize that Japan’s venerable musical tradition had long been highlighting individual notes as complex sonorities in their own right, instead of treating them as part of a series of several notes. From the human need for sound as well as silence, John Cage drew the most extreme conclusions. The concept of a “beautiful” sound was never static in music history : it has changed over the centuries, and it differs from one culture to another. Western musical aesthetics tend to differentiate between “noises” and “notes” : the latter feature well-ordered harmonics. The concept of “dissonance” has also changed throughout different musical periods. What is more, musicians and their audiences have always felt the need to “savor” a dissonance – to listen to it consciously, to experience it – before it is resolved. On the other hand, time plays a truly fundamental role in how a work is conceived and structured, and each individual listener experiences musical time in a different way. Ideally, the performer and the listener share the same time system : they enjoy passages in a similar way, they hear a piece with the same depth of focus. Music resonates inside the instrument, in our bodies, in the space that surrounds us. Each note is in motion. When several notes vibrate simultaneously, they make up an ocean of concomitant vibrations. If we add the sounds and noises from our surroundings, then we are dealing with an incredible concentration of sonic events within a very short period of time. What happens then? We become more aware of the way we perceive things. If we are lucky, this kind of conscious musical listening starts to affect how we pay attention to other people, whether they are speaking or not. And lending an ear to one another has become more necessary than ever. Wouldn’t you agree?

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