The special recording gear has certainly resulted in realistic piano sound. Good playing, too. I've heard more passionate "Appassionata" Sonata performances, though.
Bach: Toccata in C minor, BWV 911
Beethoven: Piano Sonata in F minor, Op. 57 "Appassionata"
Chopin: Nocturne Op. 48 No. 2; Etude Op. 25 No. 6; Ballade No. 4 in F minor, Op. 52
Liebermann: Gargoyles, Op. 29
Tchaikovsky - Fantasy Overture of "Romeo and Juliet - Symphony No. 5 Columbus Symphony Orchestra, Jun-Ichi Hirokami
Denon SACD
In this recording you're not sitting on the first rows, but somewhere in the middle of the parterre.
You still hear the orchestra well, but you clearly hear the coughing also.
Still, a decent and enjoyable performance.
Friedrich Cerha - Spiegel - Momentum - Momente SWR-SinfonieOrchester Baden-Baden und Freiburg, Sylvain Cambreling ORF Radio-Symphonieorchester Wien, Dennis Russel Davis & Friedrich Cerha
This recommendation by a classical buddy is growing on me (and my wife).
Very profound global experience (especially in surround).
I loved this review on Amazon, also for the summing up of comparable composers:
These works catapult contemporary atonalism-serialism to new grounds, and by the same token place Friedrich Cerha's legacy at the same rarefied level of composers such as Giacinto Scelsi, Luigi Nono, Morton Feldman, Alfred Schnittke, Iannis Xenakis, Sofia Gubaidulina, György Ligeti, Per Nørgård, Stefan Wolpe, Galina Ustvolskaya, and Salvatore Sciarrino. Renditions and the sound engineering therein have to be taken into account as decisive factors in this remarkable event.
In order to enjoy these works by Friedrich Cerha one has to learn how to progress by actively not advancing. Call Cerha's blend of atonalism a game of unveiling fruition vantage points whilst opting to statuesque hyperesthesia. It takes all the perception speed one is able to attain in order to remain in the same place; and only then thoroughly enjoy his music. In other words:
"He that goes back does, since he goes, advance, Though he doth not advance who goeth back, And he that seeks, though he on nothing chance, May still by words be said to find lack. This paradox of having, that is nought In the world's meaning of the things in screens, Is yet true of the substance of pure thought And there means something by the nought it means. For thinking nought does on nought being confer, As giving not is acting not to give, and, to the same unbribed true thought, to err, Is to find truth, though by its negative.
So why call this world false, if false to be
Be to be aught, and being aught Being to be?"
Theatre of Voices / Paul Hillier / Ars Nova Copenhagen
David Lang: The Little Match Girl Passion
Release Date June 9, 2009
Duration01:04:54
Genre
Classical
Styles
Choral
"David Lang's the little match girl passion, for vocal quartet doubling on percussion instruments, won the Pulitzer Prize in 2008. It's a strong, striking piece with a surprisingly potent emotional punch." Stephen Eddins
