Чайковский - Испанский танец (Лебединое озеро)

Jean-Sébastien Bach
Dies sind die heil’gen zehn Gebot BWV 678 
André Isoir

Orgue Joseph Gabler, Weingarten
Enregistré en 1990 par Igor Kirkwood
CD 13 plage 11


BACH / Toccata Dorienne BWV 538 // André Isoir

Моцарт - «Реквием» Ре минор, K.626 
День гнева

Последнее, незавершённое произведение композитора Вольфганга Амадея Моцарта, над которым он работал вплоть до самой смерти, — траурная заупокойная месса, написанная на канонический латинский текст.

Mozart - Requiem In D Minor, K 626 III. Sequenz. Dies Irae

JS. BACH, Concerto BWV 1059a, Aria / André Isoir

In 1974, Robert Morris and Daniel Starr famously enumerated every all-interval twelve-tone row. 

Inspired by their work, and in around 1979 in unpublished works, I generated an analogous catalog of what one might call the all-trichord rows, meaning rows, which together with two of their untransposed rotations, and in "first-species counterpoint," produce a sequence of all twelve distinct trichord classes.  By the standards of the day, this 
involved very substantial computational search.  But lately I have vastly expanded that calculation, now allowing transposition, retrograde and inversion of the rotations. Some of these new rows provide the basis of my recent pieces.   

The catalog of all-trichord rows runs to about 300 more or less, depending upon the accounting for symmetries.  That makes these rows quite rare among all the twelve-tone rows.  This rarity suggests my original compositional conception but unrealized at the time: a museum-like installation where a listener might walk in a large space from sonic exhibit to sonic exhibit, and experience the different ways these rows fit together and do their thing.  

So here are just three typical exhibits, realized now as works for chamber orchestra.  In each, the basic row first gets a plain but lapidary statement, and then the rotated forms fade in, statistically speaking, and eventually the rows likewise fade out in the order in which they entered, leaving finally a statement of the basic row.  By design, this treatment could loop seamlessly as one "display," as per my original conception.

0    4    8   11    2    3    1    6    7    9    5   10

01 Сергей Рахманинов – Прелюдия Соль Минор

Michel Bouvard 
Orgue Georg-Westenfelder Fère-en-Tardenois

JS. BACH / Ouverture (Orchestral Suite) no.3 BWV 1068 – Aria

Fantasia in f minor, K. 608
Wolfgang Amadeus Mozart
David Ball, Organist

Schoenstein, Op. 143, III/43
St. Thomas Episcopal Church
LIVE from the 2016 AGO National Convention in Houston, TX.

http://www.davidballorgan.com

MOZART Fantasia in f minor, K. 608

Аве мария

Ф. Шуберт - Серенада

Чайковский: Щелкунчик

Щелкунчик, соч. 71a: VII. Анданте (Транскр. для фортепиано)

Creativity is not something that can be turned on and off like a tap . . . 
Art is a labour of love, a question of patience and concentration. To place demands on it, criteria, quotas, damages it, slowly kills it. Art, like nature, must be allowed to develop and to grow, in order to attain plenitude. Following this principle, La Dolce Volta prefers to privilege quality over quantity. Releases are limited to ten albums a year, but each of them is the fruit of in-depth work, and above all a special relationship between the soloist and the composer. The artists’ virtuosity is coupled with their ineffable and highly personal approach, a feeling that can only be expressed through music. 
And since jewels worthy of the name can only be offered in special cases, the albums La Dolce Volta releases are themselves works of art: each record cover is an original work of art; the digipack’s inner sleeve includes a booklet in four languages and an interview with the musician. A bandeau is wrapped around each album, on which is printed the name of the soloist, the name of the composer, and the work performed. 
For La Dolce Volta, music is not just a shrink-wrapped object for sale. Like all beautiful things in life, it must come to fruition naturally, the result of careful craftsmanship, and offered like an exquisite flower. 
For La Dolce Volta music is a question of elegance and beauty without concessions.

BACH / Toccata Dorienne BWV 538 // André Isoir

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