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Kirchner: Chamber Music / Continuum
New music in the United States since World War II has been a spirited arena of diverse ideologies. Serialism, minimalism, indeterminacy, âNew Romanticismâ, and other musical pathways have attracted their passionate constituencies of composers and audience. Of composers who have chosen to go their own way, working apart from the ever-changing mainstream, a major figure is Leon Kirchner. Single-mindedly following his own vision, he has developed a powerful inimitable language...
The works on this recording span four decades. Although the composerâs music has gone through a subtle evolution, the basic features of Kirchnerâs musical language are apparent from the start. His music tends to the rhapsodic, with impulsive movement from lyric to dramatic, and asymmetrical rhythm and phrasing. Works are conceived as organic wholes. (All the multimovement works on this recording are âplayed without pauseâ.) In the earlier music particularly, sectional contrasts are sharp, marked by clear tempo changes; in his later music, the textural continuity becomes more homogeneous, the changes gradual and seamless. The tonal language is chromatic but not serially organized. The composerâs markings in the scores are detailed and sometimes unusual: âHaltinglyâ, âWildâ, âComing from nowhere, almost out of control.â
Cheryl Seltzer
© 2005 Continuum
from the album liner notes
The works on this recording span four decades. Although the composerâs music has gone through a subtle evolution, the basic features of Kirchnerâs musical language are apparent from the start. His music tends to the rhapsodic, with impulsive movement from lyric to dramatic, and asymmetrical rhythm and phrasing. Works are conceived as organic wholes. (All the multimovement works on this recording are âplayed without pauseâ.) In the earlier music particularly, sectional contrasts are sharp, marked by clear tempo changes; in his later music, the textural continuity becomes more homogeneous, the changes gradual and seamless. The tonal language is chromatic but not serially organized. The composerâs markings in the scores are detailed and sometimes unusual: âHaltinglyâ, âWildâ, âComing from nowhere, almost out of control.â
Cheryl Seltzer
© 2005 Continuum
from the album liner notes
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Kirchner: Chamber Music / Continuum
Kirchner: Chamber Music / Continuum
New music in the United States since World War II has been a spirited arena of diverse ideologies. Serialism, minimalism, indeterminacy, âNew Romanticismâ, and other musical pathways have attracted their passionate constituencies of composers and audience. Of composers who have chosen to go their own way, working apart from the ever-changing mainstream, a major figure is Leon Kirchner. Single-mindedly following his own vision, he has developed a powerful inimitable language...
The works on this recording span four decades. Although the composerâs music has gone through a subtle evolution, the basic features of Kirchnerâs musical language are apparent from the start. His music tends to the rhapsodic, with impulsive movement from lyric to dramatic, and asymmetrical rhythm and phrasing. Works are conceived as organic wholes. (All the multimovement works on this recording are âplayed without pauseâ.) In the earlier music particularly, sectional contrasts are sharp, marked by clear tempo changes; in his later music, the textural continuity becomes more homogeneous, the changes gradual and seamless. The tonal language is chromatic but not serially organized. The composerâs markings in the scores are detailed and sometimes unusual: âHaltinglyâ, âWildâ, âComing from nowhere, almost out of control.â
Cheryl Seltzer
© 2005 Continuum
from the album liner notes
The works on this recording span four decades. Although the composerâs music has gone through a subtle evolution, the basic features of Kirchnerâs musical language are apparent from the start. His music tends to the rhapsodic, with impulsive movement from lyric to dramatic, and asymmetrical rhythm and phrasing. Works are conceived as organic wholes. (All the multimovement works on this recording are âplayed without pauseâ.) In the earlier music particularly, sectional contrasts are sharp, marked by clear tempo changes; in his later music, the textural continuity becomes more homogeneous, the changes gradual and seamless. The tonal language is chromatic but not serially organized. The composerâs markings in the scores are detailed and sometimes unusual: âHaltinglyâ, âWildâ, âComing from nowhere, almost out of control.â
Cheryl Seltzer
© 2005 Continuum
from the album liner notes
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Kirchner: Chamber Music / Continuumâ
$13.99
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Description
New music in the United States since World War II has been a spirited arena of diverse ideologies. Serialism, minimalism, indeterminacy, âNew Romanticismâ, and other musical pathways have attracted their passionate constituencies of composers and audience. Of composers who have chosen to go their own way, working apart from the ever-changing mainstream, a major figure is Leon Kirchner. Single-mindedly following his own vision, he has developed a powerful inimitable language...
The works on this recording span four decades. Although the composerâs music has gone through a subtle evolution, the basic features of Kirchnerâs musical language are apparent from the start. His music tends to the rhapsodic, with impulsive movement from lyric to dramatic, and asymmetrical rhythm and phrasing. Works are conceived as organic wholes. (All the multimovement works on this recording are âplayed without pauseâ.) In the earlier music particularly, sectional contrasts are sharp, marked by clear tempo changes; in his later music, the textural continuity becomes more homogeneous, the changes gradual and seamless. The tonal language is chromatic but not serially organized. The composerâs markings in the scores are detailed and sometimes unusual: âHaltinglyâ, âWildâ, âComing from nowhere, almost out of control.â
Cheryl Seltzer
© 2005 Continuum
from the album liner notes
The works on this recording span four decades. Although the composerâs music has gone through a subtle evolution, the basic features of Kirchnerâs musical language are apparent from the start. His music tends to the rhapsodic, with impulsive movement from lyric to dramatic, and asymmetrical rhythm and phrasing. Works are conceived as organic wholes. (All the multimovement works on this recording are âplayed without pauseâ.) In the earlier music particularly, sectional contrasts are sharp, marked by clear tempo changes; in his later music, the textural continuity becomes more homogeneous, the changes gradual and seamless. The tonal language is chromatic but not serially organized. The composerâs markings in the scores are detailed and sometimes unusual: âHaltinglyâ, âWildâ, âComing from nowhere, almost out of control.â
Cheryl Seltzer
© 2005 Continuum
from the album liner notes
