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A Cultural Archaeology
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1290 CZK kniha
A Cultural Archaeology

The catalogue to the critically-acclaimed ECM exhibition at Munich’s Haus der Kunst is a handsome hardback volume, with rare photos, film stills, album artwork and drafts, and essays by Diedrich Diederichsen, Okwui Enwezor, Kodwo Eshun, Renée Green, Markus Müller, Wolfgang Sandner, and Jürg Stenzl. The book also contains a comprehensive chronology and discography of the ECM label, and biographies of artists and authors, as well as an extensive round-table talk with Manfred Eicher, Okwui Enwezor, Steve Lake, Karl Lippegaus, and Markus Müller. Available in English and German editions.

Edited by Okwui Enwezor and Markus Müller, Prestel Verlag, 2012
Hardcover book, 304 pages, 23 x 27 cm, 111 color images, 127 b/w images, faux leather binding with banderole

Canto di speranza
399 CZK  CD
Bern Alois Zimmermann
Canto di speranza

Thomas Zehetmair: violin, Thomas Demenga: cello, Gerd Böckmann: voice, Robert Hunger-Bühler: voice, Andreas Schmidt: bass, WDR Sinfonieorchester Köln, Heinz Holliger: conductor

• Konzert (1950), für Violine und großes Orchester
• Canto di speranza (1952/57), Kantate für Violoncello und kleines Orchester
• Ich wandte mich und sah an alles Unrecht, das geschah unter der Sonne (1970), Ekklesiastische Aktion für zwei Sprecher, Bass-Solo und Orchester

Three keyfigures from ECM’s contemporary music roster – Heinz Holliger, Thomas Zehetmair, and Thomas Demenga – team up for an exceptional recording of three works by German post-war composer Bernd Alois Zimmermann. Zimmermann, almost half a generation older than the serialists such as Boulez and Stockhausen, integrated state-of-the-art compositional methods in his writing while constantly following his own independent, highly expressive musical language. The rhythmically energetic violin concerto (1950) which is partially based on twelve-tone models and cast in three movements, was soon hailed as a model for a post-war solo concerto, while “Canto di Speranza” (1953/57), a one-movement cello concerto, acccording to Zimmermann, emphasizes monologue and introvert meditation. “Ich wandte mich…” on the other hand is Zimmermann’s last work, finished only a few days before his suicide in 1970. Labelled by the composer as an “ecclesiastical action”, the 35-minute oratorio on biblical verse and the famous parable "The Grand Inquisitor" from Dostoevsky’s “Brothers Karamazov” is a deeply pessimistic “performance art” work - of the kind that flourished in Germany’s ‘Fluxus’ scene around 1970 - involving recitation, singing, and both gestural and acrobatic action.

Promise (The)
399 CZK  CD
Vassilis Tsabropoulos
Promise (The)

Vassilis Tsabropoulos: piano

The versatile Greek pianist has already outlined a broad arc of musical possibility in his recordings for ECM – from post-Bill Evans jazz with Arild Andersen to explorations of Gurdjieff’s nomadic sound-world with Anja Lechner. “The Promise” picks up the implications of his earlier solo recital “Akroasis” (“Hypnotic and mysterious, shimmering like ancient mosaics” – The Independent), but is more rigorously composed, carefully casting arpeggios into deep pools of silence. All pieces are Tsabropoulos originals, with the exception of “Djivaeri”, a Greek traditional tune. The album was recorded in 2008 in the resonant space of Athens’ Megaron Concert Hall, with Manfred Eicher producing.

Inventionen, sinfonien...
399 CZK  CD
Johann Sebastian Bach
Inventionen, sinfonien...

Till Fellner: klavír

Inventionen BWV 772 - 786, Sinfonien BWV 787 - 801, Französische Suite V in G-Dur BWV 816

For more than four years, fans have been waiting for a new Bach recording from the extraordinary Austrian pianist Till Fellner. His interpretation of the first book of the Well-tempered piano for ECM was released in 2004 to great critical acclaim. “The articulation and the shaping of line are always clean, with meticulous but subtle attention given to the underlining of fugue subjects. There is just the right amount of flexibility in his shaping of phrase, and the sheer beauty of his sound helps lend the cerebral an enticing touch of the sensual”, wrote Stephen Pettitt in the Evening Standard. With the two-part Inventions and three-part Sinfonias Fellner now illuminates the magic of Bach’s allegedly just didactic piano pieces from 1722/23, in which he offered a method of polyphonic playing and composing. Interspersed is a vividly swinging account of Bach’s fifth French Suite in G-major.

Selected Recordings
319 CZK  CD
Pat Metheny
Selected Recordings

Pat Metheny: electric and acoustic guitars, guitar synthesizer, bass, Jaco Pastorius: bass, Bob Moses: drums, Lyle Mays: piano, synthesizers, synclavier, autoharp, Dan Gottlieb: drums, Michael Brecker: tenor saxophone, Charlie Haden: double-bass, Jack DeJohnette: drums, Nana Vasconcelos: percussion, voice, Steve Rodby: basses, Pedro Aznar: acoustic guitar, voice, bells, percussion, Paul Wertico: drums, Billy Higgins: drums

Landmark recording and old favourites – greatest hits, effectively - from the formative years of one of jazz’s most influential guitarists. This :rarum CD features the perennially popular Pat Metheny Group, the 80/81 ensemble and Metheny’s trios with Jaco Pastorius/Bob Moses and Charlie Haden/Billy Higgins. Detailed liner notes by Metheny sketch the origin of each featured tune and recall his enthusiasm about “recording for one of the most exciting and interesting record labels to emerge in many years.”

Cathedral Organ in Litoměřice
290 CZK  CD
more info
Bach - Middelschulte, Schmidt, Mendelssohn-Bartholdy, Bossi, Finke, TĹŻma
Cathedral Organ in Litoměřice

Johann Sebastian BACH / Wilhelm MIDDELSCHULTE: Chaconne für Violine allein
Franz SCHMIDT: Toccata C-Dur
Felix MENDELSSOHN-BARTHOLDY: Präludium und Fuge G-Dur, op. 37/2
Marco Enrico BOSSI: Tema e Variazioni, op. 115
Fidelio Friedrich FINKE: Drei Choralvorspiele für Orgel
Jaroslav TĹŽMA: Improvisation on „Koleda, koleda, Štěpáne“ theme

Jaroslav TĹŻma – organ Jehmlich (Dresden 1941)

D´ombre et de silence
399 CZK  CD
more info
Henri Dutilleux
D´ombre et de silence

Robert Levin: piano
(with Ya-Fei Chuang: piano)

The first ECM release dedicated exclusively to music by the doyen among French contemporary composers (born 1916). “De l’ombre et de silence” offers a comprehensive overview of Dutilleux’s highly original and energetic work for one and two pianos (“Figures de Resonances”). American pianist Robert Levin, not least known as a long-standing musical partner to violist Kim Kashkashian, a noted theorist and professor of humanities at Harvard, approaches the repertoire with great sonic subtlety and utmost technical brilliance. Levin met the composer during his season as Director in Residence at Nadia Boulanger’s Conservatoire Américain at Fontainebleau in 1979 and has since been his close friend. In his liner notes to the present recording Levin writes: “Dutilleux has always kept a discreet profile, composing with painstaking perfectionism, subjecting his works to relentless revision before, and sometimes after, they have been presented to the public”. The programme opens with Dutilleux’s path-breaking piano sonata of 1946–48, a three-movement work that is marked by a personal synthesis of French Impressionism and the clear-cut rhythmic contours characteristic of Soviet music of the same period. The shorter pieces – radiant, playful and highly sophiticated music condensed to its very essence – “document Duteilleux’s trajectory from extended tonality to a sound world totally of his own invention, in which harmonies of dazzling iridescence inflect brilliant rhythmic and melodic gestures” (Robert Levin).

Petr Kroutil
Just The Way I Am

Petr Kroutil – saxophone, vocal, clarinet; Barbora SWINX Řeháčková – vocal; Václav Kalenda – trumpet; Ondřej Kabrna – keyboards, accordion, oud; Adam Tvrdý – guitar; Lukáš Martinek – guitar; Vít Švec – double bass; Zdeněk Tichota – bassguitar; Michal Hejna – drums; Imran Musa Zangi – percussion

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Š Studio Svengali, October 2019
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