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George Antheil
Bad Boy's Piano Music |
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Fireworks and the Profane Waltzes - Fireworks |
01:04 |
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| 2 |
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- Tempo di Valse |
01:09 |
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| 3 |
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- over sentimental - exaggerated |
02:25 |
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| 4 |
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The Golden Bird, after Brancusi |
04:43 |
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| 5 |
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Second Sonata The Airplane - Lent - first movement |
02:31 |
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| 6 |
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- Andante moderato |
02:45 |
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| 7 |
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Jazz Sonata (Sonata No. 4) |
01:33 |
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| 8 |
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Mechanisms |
12:50 |
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| 9 |
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Third Sonata Death of Machines |
01:50 |
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| 10 |
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(Little) Shimmy |
01:33 |
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| 11 |
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Sonata Sauvage - Niggers. Allegro vivo - joyeuse marcato, à la nègre |
02:45 |
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| 12 |
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- Snakes. (Lento) - Prestissimo - Lento |
05:07 |
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| 13 |
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- Ivory. Moderato - Xylophonic. Prestissimo |
00:49 |
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| 14 |
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Sonata V |
02:55 |
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| 15 |
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Sonatina für Radio |
03:55 |
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| 16 |
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Sonatina 1932 |
04:17 |
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Total Time |
52:11 |
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| Digital Booklet - only with album |
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| George Antheil was not only always ahead of his time; he was also an alert contemporary and ready to take in all artistic trends of the first half of the 20th century. There was hardly a kind of music he wasn't aware of, hardly a madness he didn't take part in, and hardly a scandal he missed, or missed to cause. All his personal entanglements are certainly reflected in his compositions – and we wouldn't expect any less from him; but his continuing reputation as a genuinely unique character is nevertheless mainly owed to his intangible polystylistics and, similar to Satie, his absolutely non-conformist compositional style. Especially his works for piano dating from the years 1919 to 1932 seem like a concentrate of his creative energies and, moreover, of his compositional life: from the slightly impressionist Fireworks and the Profane Waltzes, to the genuinely jazzy Jazz Sonata or the Sonata Sauvage, which describes a possible fierce future with the ease of a sleepwalker. And: Benedikt Koehlen demonstrates his truly playful approach to these unique works for piano. |
1CD | Instrumental | Piano | Contemporary | Special Offers |
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| Recommendation |
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Remembrance and Polyphony. Ernst von Siemens composer’s award winner Ulrich Alexander Kreppein.  |
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All you need is air
A songbird that stops singing must die. Georges Aperghis demands a similar degree of self-sacrifice of the performer of his 14 Récitations: |
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| Musica Viva 02: Space and sound, modernism and pluralism, "perfect harmony" and, finally, the fascination of collectively organized fireflies. |
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