Brahms-Schoenberg: Piano Quartet for orchestra

Arnold Schoenberg's orchestrations of:
Brahms: Piano Quartet in g, op. 25
Bach Chorale Preludes:
"Schmücke dich, o liebe Seele", BWV 654
"Komm, Gott Schöpfer, Heiliger Geist, BWV 631

Bavarian Radio Symphony Orchestra
Michael Tilson Thomas, conductor

Schoenberg is usually thought of as impossibly dissonant but he was secretly the very last gasp of German Romanticism. With his orchestration of the piano quintet one is tempted to imagine Brahms on pschedelics while Schoenberg's Bach out-Stokovskies Stokowski. Analogue audiocassette of a digital master, 1986.

Schoenberg-Brahms
68.0 MB - no password

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Schubert: Symphony #9 Sawallisch

Schubert: Symphony #9 in C, "The Great"
Staatskapelle Dresden
Wolfgang Sawallisch, conductor

Sawallisch was a prolific conductor of both symphonies and operas whose career was cut short by orthostatic hypotension. He spent ten years as music director of the Philadelphia Symphony, but was more appreciated by European audiences. His solid, balanced musicianship was well-matched to Schubert's solidest symphony.


Schubert's Ninth with Sawallisch
84.6 MB - no password

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Mozart String Quartets #18 and #19

The Guarneri Quartet

Quartet for Strings #18 in A (K. 464)
Quartet for Strings #19 in C, "Dissonant" (K. 465)

Six Quartets dedicated to Haydn, vol. 3
RCA Red Seal, 1975

Formed in 1964, the Guarneri was such an institution in its day that they often didn't bother to list their individual names (Arnold Steinhardt and John Dalley, violins; Michael Tree, viola; David Soyer, cello). The quartet is still in residence at the University of Maryland even though Mr Soyer retired in 2001 and died in 2010. These Mozart quartets were recorded while the Guarneri was at its apogee.


Mozart String Quartets 18 & 19
85.0 MB - no password

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Mozart pianoforte Badura-Skoda

With his unusual combination of musicology, museology, and performance, Paul Badura-Skoda kicked the original-instruments movement into overdrive so fast that his competitors felt it necessary to disparage his playing. There is nothing wrong with his playing in this recording, in which we hear rare pieces he found performed on a period instrument he owns.


Badura-Skoda plays Mozart
75.5 MB - no password

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Cartesian Reunion Memorial Orchestra

D. Hein, amplified and electric guitars
M. Bayer, amplified violoncello
J. Glenn, electrical bass
W. Houston, keyboards
F. Riddick, keyboards
S. Moshier, vibraharp
Ll. Rodgers, saxophone, clarinet, organ

This was an experimental group based around Lloyd Rodgers, a professor of music at California State University, Fullerton, and a few of his students. CRMO described itself as "a post-modernist electrical chamber ensemble in the grand style"; stylistically it bore some affinity to Peter Schickele's Open Window and to Alex Kline's Quartet Music while philosophically it criticized the ambient culture of self-satisfaction, violence, and conformity.


CRMO
52.4 MB - no password

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Moondog instrumental works circa 1978

One of the truly great eccentrics of the twentieth century, Louis T. Hardin (1916-1999), who became blind at the age of seventeen, spent most of his life impersonating the Norse god Odin as a busker on the streets of New York City. He retired to Germany in 1974. Hardin gave himself his nickname in honor of a pet dog that liked to howl at the moon.

His compositional style was decidedly atavistic, holding to very strict canons in preference to fugues, and yet was an acknoweldged formative influence on Philip Glass's minimalism. His first recordings were released on 78s; the present recording was probably his last, made by Gema in Germany. It includes harpsichord works that sound very Baroque, organ works that remind one of Reger, and works for string quartet that might be a bit Hindemithy.

Moondog, 1978
68.0 MB - no password

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Fantasias: Colin Tilney, clavichord

J. S. Bach: Chromatic Fantasia and Fugue in d
C.P.E. Bach: Fantasia in c, Fantasia in C
W. F. Bach: Fantasia in d
C.P.E. Bach: Fantasia in C
Mozart: Fantasia in d

Tilney took Ralph Kirkpatrick's advocacy for obsolete instruments one step further by promoting the use of original instruments. This recording, from 1976, was performed on a clavichord from 1742 in the collection of the Museum für Hamburgische Geschichte. The program is interesting in that it gives representative examples of a loose compositional form from its inception in the Baroque to the Classical.

Fantasias for clavichord
72.2 MB - no password

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