Janine Jansen / Itamar Golan BEAU SOIR

For her first recital recording, Decca violinist Janine Jansen has chosen French music. Running through the album, entitled Beau Soir – after Debussy’s lovely early song, which she plays in a transcription for violin and piano – is the theme of night. Noted chamber-music specialist Itamar Golan partners the celebrated young Dutch virtuoso. With such familiar classics as Fauré’s Après un rêve; Clair de lune, another exquisite song by Debussy; Lili Boulanger’s Nocturne; and three new works by the widely admired contemporary Swiss composer Richard Dubugnon whose Violin Concerto Janine Jansen premiered in Paris in 2008, the programme moves from evening to moonlight, from lullabies into sleep, from dreams to awakening and recollection. Also integrated into Beau Soir is music by Messiaen (his Theme and Variations for violin and piano) as well as violin sonatas by Debussy and Ravel.
Janine Jansen and Itamar Golan will be touring with the music of Beau Soir from 31 October to 14 November 2010 (stops to include Arnhem, Amsterdam, Dortmund, Brussels, The Hague, Frankfurt, Berlin and Stockholm) and from 31 March to 12 May 2011 (London, Pamplona, Graz, Baden-Baden, Lisbon and Paris).

Claude Debussy (1862 - 1918)
Sonata for Violin and Piano in G minor
1. 1. Allegro vivo [4:52]
2. 2. Intermède (Fantasque et léger) [4:26]
3. 3. Finale (Très animé) [4:34]
4. Beau Soir [2:16]
Suite bergamasque
5. No.3 Clair de lune (Arranged by A. Roelens) [4:21]
Richard Dubugnon (1968 - )
6. La Minute Exquise [3:15]
Lili Boulanger (1893 - 1918)
7. Nocturne [3:18]
Richard Dubugnon (1968 - )
8. Hypnos [4:49]
Olivier Messiaen (1908 - 1992)
9. Thème et Variations [10:35]
Gabriel Fauré (1845 - 1924)
10. Après un Rêve op.7, no.1 (Arr. Violin & Piano) [3:26]
Maurice Ravel (1875 - 1937)
Violin Sonata in G
11. 1. Allegretto [8:25]
12. 2. Blues (Moderato) [5:39]
13. 3. Perpetuum mobile (Allegro) [3:55]
Richard Dubugnon (1968 - )
14. Retour à Montfort-Lamaury [5:42]

Janine Jansen

Itamar Golan

2010 DECCA Record Co.

1 CD DDD

478 2256 1 DH

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Beethoven MISSA SOLEMNIS

We know that the Missa solemnis has moments of the utmost and loveliest serenity, others when a spirit of confidence reigns, when grandeur is proclaimed with harmonic simplicity, and assurance affirmed with measured tread. Yet it's the great whirls of sound, the divine scattering and striving, the straining of the soul to dance in freedom from all laws of time and formal conventions that ultimately characterize the work in our minds. Ah, but a man's reach should exceed his grasp, or what's a Heaven for? Exactly: Beethoven seems to be reaching beyond human grasp, and one of Heaven's good works must surely be to give the Missa solemnis its ideal performance, liberated from all constraints of matter.
Well, it now appears we do not need to wait that long. With his expert choir of 36 and his orchestra of 60 (with original instruments), Gardiner, like Terje Kvam on Nimbus before him, sheds some of the weight of numbers usually employed; he also has a team of soloists without weaknesses, and, it must be added, his own genius for making all things new. Comparison between the two recordings hardly needs to go beyond the first entry of the choir, where Gardiner's singers bring meaning and urgency to their cries of Kyrie which with Kvam's Oslo Cathedral Choir are scarcely more than formal statements.
Not that one would wish to follow this line of demonstration, for the performance under Kvam deserves something better than merely to serve as a foil. Still, the essential point has to be made, and one could go to the far end of the work for a further example and compare the control of tension in the Agnus Dei. With Gardiner the change of key to B flat, as drums and trumpets introduce the terrors of war, is chillingly sudden: the timpani are more precisely tuned, the acoustic is sharper, the timing more dramatic. And consequently the return to peace in the Dona nobis pacem with its 6/8 rhythm, banishes the grim horsemen of the Apocalypse and substitutes a joyful, even frisky canter over the Elysian fields. The other performance is good, but it has nothing like this. Nor have most other recordings. For instance, the most recent, under Jeffrey Tate (EMI), creates no comparable tension, for the war passage is not really allegro assai and though things settle back with serenity they don't have this joyful buoyancy and lift.
Another factor is the very crucial matter of balance. Many recordings have brought their soloists too far forward, shine too bright a light on them, and many others have had the chorus too far back. The Tate recording is an example of the first, Kvam of the second. Here the balance is right, and separation of the various elements has been achieved without exaggeration or any sense of unnaturalness.
It is indeed an outstanding recording in every respect. If one wished to cavil, it might be over the absence of appoggiaturas now generally accepted in the quasi-recitative cries of 'Agnus Dei' in the 'war' passage just mentioned, or perhaps to object that the 'Pleni sunt coeli' (given to the soloists) is not so much allegro pesante as presto brillante. The Credo also goes at a tempo faster than usual, possibly not taking sufficient heed of the ma non troppo qualifying allegro. Even so, there seems nothing forced here and the relative lightness of the forces, both choral and orchestral, makes such speeds viable and with exhilarating effect, felt most magically of all in the Et vitam venturi fugues. Each of the soloists contributes fine work, and they are an entirely homogeneous quartet (unlike those in the Tate recording, for example). I personally have the strongest reason to regret the record's appearance at this particular moment, for it coincides with the publication of Choral Music on Records (Cambridge University Press) which AB has edited and in which the chapter on the Missa solemnis is written my myself (see page 1653). I suspect the survey would have reached a different conclusion if the Gardiner recording had then been available, for my present conviction is that it is best of all. (Gramophone Magazine)

Ludwig van Beethoven (1770 - 1827)
Mass in D, Op.123 "Missa Solemnis"
1. Kyrie [8:50]
2. Gloria [16:26]
3. Credo [17:29]
4. Sanctus [15:17]
5. Agnus Dei [13:40]

Charlotte Margiono, soprano
Catherine Robbin, mezzo-soprano
William Kendall, tenor
Alastair Miles, bass
Orchestre Révolutionnaire et Romantique
Directed by John Eliot Gardiner
Elizabeth Wilcock, leader
Alastair Ross, organ
The Monteverdi Choir

1990 Deutsche Grammophon GmbH, Hamburg
ARCHIV Produktion
1 CD DDD
429 7792 1 AH

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Magdalena Kožená LETTERE AMOROSE

Celebrated Czech mezzo Magdalena Kozená returns with an all-new recording of 17th century vocal music celebrating the various forms of love and devotion. This departure from her standard repertoire afforded her the chance to work with the early-music ensemble Private Musicke and their director, Pierre Pitzl.
Although Kozená rarely performs this music, it is actually music that she grew up with. When she was 16 she teamed up with a lutenist to perform secular songs by Monteverdi and his compatriots and reveled in the creative freedom their music allowed her.
"I find its simplicity very attractive," she says. "And a simple song can go very deep. This music speaks to people who don't regard themselves as classical specialists. It comes from a time when there was no equivalent to our divide between classical and pop music: it was simply the music everybody heard and sang. Some of these songs would have been performed in churches, but some are street music, and others were just intended for people to come together and play, rather than perform for an audience. It's very much ensemble music, rather than about who is going to shine the brightest, and be the star."
This sense of collaboration extends to the unique ensemble she has partnered with. Since its founding in 1998, Private Musicke (the name is taken from a 1620 collection of consort music by the English composer Martin Peerson) has undertaken numerous projects and collaborations and has appeared at various European early music festivals. The actual instrumentation of the group changes from viols to plucked instruments and a combination of both depending on the needs of the music. Additional percussion instruments are sometimes added for authentic flair.
Both Kozená and the musicians of Private Musicke were empowered to make bold personal statements with each work. Perhaps the most extraordinary work in this collection is Tarquinio Merula's "Canzonetta spirituale sopra alla nanna," a cradle song of the Virgin Mary. As much a lament as a lullaby, the song unfolds over just two plucked chords which the ensemble elaborates with exquisite delicacy, gradually deepening the color. After her desperate description of the physical torments her child will later endure, the singer finally sends herself -- and her baby- - into a state of repose. The instrumental gear-change accompanying this resolution is magical (Michael Church)

Filippo Vitali (1569 - 1653)
1. O bei lumi [2:55]
Sigismondo D'India (1582 - 1629)
2. Cruda Amarilli [2:56]
Claudio Monteverdi (1567 - 1643)
3. Si dolce è il tormento [3:29]
Giulio Romano Caccini (1551 - 1618)
4. Odi Euterpe [3:27]
Luis de Briceno
5. Caravanda Ciacona [1:41]
Tarquinio Merula (1594 - 1665)
6. Canzonetta Spirituale [8:42]
Gaspar Sanz (1640 - 1710)
7. Canarios [3:15]
Sigismondo D'India (1582 - 1629)
8. Ma che? Squallido e oscura [2:44]
Biagio Marini (1597 - 1665)
9. Con le Stelle in Ciel [4:22]
Johann Kapsberger (1580 - 1651)
10. Felici gl'animi [2:57]
Giovanni de Macque (1550 - 1614)
11. Capriccio stravagante [1:43]
Johann Kapsberger (1580 - 1651)
12. Aurilla mia [3:17]
Sigismondo D'India (1582 - 1629)
13. Torna il sereno zeffiro [3:28]
Giovanni Paolo Foscarini (1621 - 1649)
14. Ciacona [1:48]
Barbara Strozzi (1619 - 1664)
Cantate, Ariette e Duetti, Op.2
15. L'Eraclito amoroso (Udite amanti) [7:55]
Lucas Ruiz de Ribayaz
16. Espanoletas [2:54]
Tarquinio Merula (1594 - 1665)
17. Folle é ben [3:53]

Magdalena Kozená
Private Musicke
Pierre Pitzl

2010 Deutsche Grammophon GmbH, Hamburg
1 CD DDD
477 8764 8 GH

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J.S.Bach CHRISTMAS ORATORIO

Bach composed his Christmas Oratorio for the Christmas church festival at Leipzig in 1734. This , included not only Christmas Day and the two days following, but also the Feast of the Circumcision, the Sunday after New Year and the Feast of the Epiphany. Thus the performances or the six separate parts of the oratorio, each with its own distinctive musical identity, spread over into the New Year of 1735. Though Bach performed the work in this way, it should nevertheless be understood as complete and unified within itself. The unity is strengthened, furthermore, by Bach's use, surely intentional, of the same melody for the first chorale in Part 1 as for that which he incorporated into the closing chorus of the Sixth and concluding Part.
While each of the six parts of the Christmas Oratorio is structured along the lines of a typical Leipzig church cantata — that is to say, containing recitatives, arias, choruses and chorales — there are some differences. One of the features that distinguished an oratorio from a cantata in Bach's time was the use of a narrator to relate a linked sequence of events. In this way a story could be presented progressively in a way that does not occur, by and large in Bach's cantatas. Bach himself used the term "Oratorio" in connection with this work, where the Evangelist tells the story in biblical narrative, while arias, duets and trios for the soloists, choruses for the choir, and chorales in which perhaps, on occasion, the congregation participated, reflect upon and contemplate the events taking place.
The text of the Christmas Oratorio is very possibly by Christian Friedrich Henrici, better known by his pseudonym, Picander. He was Bach's collaborator at Leipzig on many occasions, but his authorship of this work remains in doubt, and it is most likely that Bach himself at least had some influence over its content. The six parts of the oratorio recount in sequence the Nativity, the Annunciation to the Shepherds, the Adoration of the Shepherds, the Circumcision and Naming of Jesus, the Coming of the Wise Men from the East and, lastly, the Adoration of the Wise Men.

CD 1:
Johann Sebastian Bach (1685 - 1750)
Christmas Oratorio, BWV 248
Part One - For the first Day of Christmas
1. No.1 Chorus: "Jauchzet, frohlocket" [7:44]
2. No.2 Evangelist: "Es begab sich aber zu der Zeit" [1:11]
3. No.3 Rezitativ (Alt): "Nun wird mein liebster Bräutigam" [0:51]
4. No.4 Aria (Alto): " Bereite dich, Zion" [5:02]
5. No.5 Choral: "Wie soll ich dich empfangen" [1:04]
6. No.6 Evangelist: "Und sie gebar ihren ersten Sohn" [0:21]
7. No.7 Chorale: "Er ist auf Erden kommen arm", Recitativ (Bass): Wer will die Liebe recht erhöhn" [2:56]
8. No.8 Aria (Baß): "Großer Herr, o starker König" [4:22]
9. No.9 Choral: "Ach mein herzliebes Jesulein" [1:13]
Part Two - For the second Day of Christmas
10. No.10 Sinfonia [5:25]
11. No.11 Evangelist: "Und es waren Hirten in derselben Gegend" [0:35]
12. No.12 Chorale: "Brich an, o schönes Morgenlicht" [1:01]
13. No.13 Evangelist, Engel: "Und der Engel sprach zu Ihnen" [0:38]
14. No.14 Rezitativ (Baß): "Was Gott dem Abraham Verheißen" [0:41]
15. No.15 Aria (Tenor): "Frohe Hirten, eilt, ach eilet" [3:19]
16. No.16 Evangelist: "Und das habt zum Zeichen" [0:23]
17. No.17 Chorale: "Schaut hin, dort liegt im finstern [0:39]
18. No.18 Rezitativ (Baß): "So geht denn hin, ihr Hirten, geht" [0:49]
19. No.19 Aria (Alto): "Schlafe, mein Liebster, geniesse der Ruh" [9:21]
20. No.20 Evangelist: "Und alsbald war da bei dem Engel" [0:15]
21. No.21 Chor: "Ehre sei Gott in der Höhe" [2:27]
22. No.22 Rezitativ (Baß): "So recht, ihr Engel, jauchzt und singet" [0:23]
23. No.23 Chorale: "Wir singen dir in deinem Heer" [1:09]
Part Three - For the third Day of Christmas
24. No.24 Chor: "Herrscher des Himmels, erhöre das Lallen" [1:58]
25. No.25 Evangelist: "Und da die Engel von ihnen gen Himmel fuhren" [0:09]
26. No.26 Chor: "Lasset uns nun gehen gen Bethlehem" [0:39]
27. No.27 Rezitativ (Baß): "Er hat sein Volk getröst" [0:36]
28. No.28 Choral: "Dies hat er alles uns getan" [0:42]
29. No.29 Duett (Sopran, Baß): "Herr, dein Mitleid, dein Erbarmen" [6:50]
30. No.30 Evangelist: "Und sie kamen eilend" [1:09]
31. No.31 Aria (Alt): "Schließe, mein Herze, dies selige Wunder" [5:00]
32. No.32 Recitativ (Alt): "Ja, ja, mein Herz soll es bewahren" [0:21]
33. No.33 Choral: "Ich will dich mit Fleiß bewahren" [0:50]
34. No.34 Evangelist: "Und die Hirten kehrten wieder um" [0:23]
35. No.35 Choral: "Seid froh dieweil" [0:43]
36. No.24 Chor: "Herrscher des Himmels, erhöre das Lallen" [1:56]

CD 2:
Part Four - For New Year's Day
1. No.36 Chor: "Fallt mit Danken, fallt mit Loben" [5:34]
2. No.37 Evangelist: "Und da acht Tage um waren" [0:32]
3. No.38 Rezitativ (Baß): "Immanuel, o süßes Wort" Arioso (Chor-Sopran, Baß): "Jesu, du mein liebstes Leben"-"Komm ich will dich mit Lust umfassen" [2:15]
4. No.39 Aria (Soprano, Echo-soprano): "Flösst, mein Heiland, flösst dein Namen" [5:40]
5. No.40 Rezitativ (Baß): "Wohlan, dein Name soll allein" Arioso (Chor-Sopran): "Jesu mein Freud und Wonne" [1:21]
6. No.41 Aria (Tenor): "Ich will nur dir zu Ehren leben" [4:24]
7. No.42 Choral: "Jesus richte mein Beginnen" [1:58]
Part Five - For the 1st Sunday in the New Year
8. No.43 Chor: "Ehre sei dir, Gott, gesungen" [6:08]
9. No.44 Evangelist: "Da Jesu geboren war zu Bethlehem" [0:23]
10. No.45 Chor: "Wo ist der neugeborne König der Juden?" - Rezitativ (Alt): "Sucht ihn in meiner Brust" [1:40]
11. No.46 Choral: "Dein Glanz all Finsternis verzehrt" [0:45]
12. No.47 Aria (Bass): "Erleucht auch meine finstre Sinnen" [3:59]
13. No.48 Evangelist: "Da das der König Herodes hörte" [0:12]
14. No.49 Rezitativ (Alt): "Warum wollt ihr erschrecken?" [0:30]
15. No.50 Evangelist: "Und ließ versammeln alle Hohepriester" [1:24]
16. No.51 Terzetto (Soprano, Alto, Tenor): "Ach, wann wird die Zeit erscheinen?" [5:34]
17. No.52 Rezitativ (Alt): "Mein Liebster herrschet schon" [0:25]
18. No.53 Choral: "Zwar ist solche Herzensstube" [0:47]
Part Six - For the Feast of Epiphany
19. No.54 Chor: "Herr, wenn die stolzen Feinde schnauben" [5:06]
English B20. No.55 Evangelist: "Da berief Herodes die Weisen heimlich" - Herodes: "Ziehet hin und forschet fleißig" [0:44]
21. No.56 Rezitativ (Sopran): "Du Falscher, suche nur den Herrn zu fällen" [0:56]
22. No.57 Aria (Sopran): "Nur ein Wink von seinen Händen" [4:24]
23. No.58 Evangelist: "Als sie nun den König gehöret hatten" [1:04]
24. No.59 Chorale: "Ich steh an deiner Krippen hier" [1:02]
25. No.60 Evangelist: "Und Gott befahl ihnen im Traum" [0:23]
26. No.61 Rezitativ (Tenor): "So geht! Genug, mein Schatz geht nicht von hier" [1:52]
27. No.62 Aria (Tenor): "Nun mögt ihr stolzen Feinde schrecken" [3:59]
28. No.63 Rezitativ (Sopran, Alt, Tenor, Baß): "Was will der Hölle Schrecken nun?" [0:37]
29. No.64 Choral: "Nun seid ihr wohl gerochen" [3:26]

Nancy Argenta
Anne Sofie von Otter
English Baroque Soloists
John Eliot Gardiner
The Monteverdi Choir


1987 ARCHIV Produktion
2 Compact Discs
DDD 423 2322 3 AH2

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Federico Alvarez del Toro SINFONÍA "EL ESPIRITU DE LA TIERRA" (Vinyl)

Federico Alvarez del Toro (Tuxtla Gutiérrez, 16 Nov 1953). Mexican composer. He began his guitar studies in 1971 with Guillermo Flores and in 1977 had classes with Brouwer. He also took various composition courses at the National School of Music and the National Conservatory, where he studied with Eduardo Mata and Rodolfo Halffter.
In his compositions Alvarez del Toro aims to unite in a heterodox manner different musical materials and media – the cries of wild animals, instruments of stone (as in Oratorio en la cueva de la marimba, where the main instrument is a natural formation of stalactites), amplified voices (Vilotl-mut) – together with traditional symphonic and chamber ensembles. A constant feature of his work is the link between his musical discourse and nature, a concept which enables him to unite his ecological concern, nourished by the rich and exuberant landscape of the forest of his native region of Chiapas, with the evocation of the Maya and Lacandona cultures to be found in this area. Examples of his ecological concern can be found in Ozomatli, where the cries of a monkey are set against human voices and instruments, and in the symphony El espíritu de la tierra, which uses Lacandona melodies and the marimba (the traditional instrument of the south-east of Mexico and Guatemala) to evoke, in the composer's words, ‘the generating principle of all the energies and the primordial rites of the elements’.

Federico Alvarez del Toro (1953 - )

Sinfonía "El Espíritu de la Tierra"

1) 1. La Fuerza de la Tierra

2) 2. Oratorio Bajo la Ceiba

3) 3. Los Misterios Festivos

Zeferino Nandayapa, marimba

Orquesta Filarmónica de la Ciudad de México

Federico Alvarez del Toro, director

4) "Oratorio en la Cueva de la Marimba"

(Invocaciones a los Cultos de la Gruta)

Zeferino Nandayapa, marimba natural de piedras estalactitas

Marielena Arizpe, flautas

1985 EMI

1 LP

SAM- 35080

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Hilary Hahn & Natalie Zhu MOZART Violin Sonatas (reuploaded)

Fine interpretations, like many of the finer things in life, can take years to mature but are worth waiting for. Hilary Hahn's new recording is a distillation of her love for the music of Mozart, and of the musical bond formed more than a decade ago with pianist Natalie Zhu.

This recording is brimming with energy and fearlessness, tempered by a deep understanding of - and respect for - the music. Throughout the time they have known each other, Ms. Hahn and Ms. Zhu have fed their musical partnership with repertoire of all eras and origins, but Mozart's sonatas for piano and violin have proven a common denominator. "Our tours together have given us the opportunity to live with these sonatas day in and day out," says Hahn. The result combines the spontaneity and emotional output of a concert with the meticulous care and dedicated excellence of a studio recording.
The two musicians crossed paths more than a decade ago while fellow students at Philadelphia's renowned Curtis Institute of Music, and have worked together ever since. Early on, they sat down with the complete volume of Mozart's piano-and-violin sonatas, sight-reading all of them in the course of a few weeks. "My teacher had told me to pick out a Mozart sonata to learn, so we started at the beginning and went through each one", Hahn recalls. "There's something special about playing the music as opposed to simply listening. You get to experience for yourself which sonatas you connect to particularly well, which helps when planning what to work on in the future. As it turned out, we enjoyed reading them all." Since Hahn had to pick just one or two to learn at the time, she took notes as their sessions progressed; she still has the pencil markings in her music to prove it. Years later, when Hahn and Zhu had the difficult task of choosing just four of the 18 to record, they returned to her score to see which ones had captured their attention from the start. "I had put stars or double stars by them, and notes to myself like 'should learn this one', or 'beautiful slow movement', or 'wonderful character'," Hahn reminisces. "Now that we've had the chance to work on them in depth, we've been able to discover much more about them than we had noticed initially - and that makes us eager to uncover every possible aspect of each sonata that Mozart wrote." (Amanda Holloway)

Wolfgang Amadeus Mozart (1756 - 1791)
Sonata for Piano and Violin in F, K.3761) 1. Allegro [5:04]
2) 2. Andante [6:09]
3) 3. Rondo (Allegretto grazioso) [6:24]
Sonata for Piano and Violin in G, K.301
4) 1. Allegro con spirito [8:34]
5) 2. Allegro [5:57]
Sonata for Piano and Violin in E minor, K.304
6) 1. Allegro [7:03]
7) 2. Tempo di minuetto [5:41]
Sonata for Piano and Violin in A, K.526
8) 1. Allegro molto [7:10]
9) 2. Andante [10:50]
10) 3. Presto [7:07]

Hilary Hahn, Violin
Natalie Zhu, Piano

2005 Deutsche Grammophon GmbH, Hamburg
1 CD DDD
477 5572 GH

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Karlheinz Stockhausen PROZESSION (Vinyl)

I composed PROZESSION in May 1967 for the ensemble with which I toured for many years: electronium, piano, electric viola, tamtam with microphonist, filters and potentiometers. The first performance was on May 21st 1967 in Helsinki. Since then the ensemble has given hundreds of performances of this work.
Already during the World Fair in Osaka Péter Eötvös sometimes took over the piano part. Since 1970, Eötvös has played electrochord with synthesizer, replacing the electric viola: Christoph Caskel took over the tamtam, and Joachim Krist has assisted him as microphonist; Harald Bojé (electronium) and Aloys Kontarsky (piano) have been members of the ensemble since 1964. With these musicians three consecutive performances of PROZESSION were recorded on June 27th 1971 at the WDR, Cologne, starting at 2 p.m. The third recording of 5.30 - 6.05 pm was chosen for radio broadcasts and a gramophone recording , unedited and unaltered. I myself played the two W 49 filters for the tamtam and the electrochord, and the 2 x 2 potentiometers for distributing these sounds over the loudspeakers. In addition I was previously responsible for the supervision of the sound system.
The title PROZESSION is ambiguous: on the one hand it indicates that I have not composed a "piece" like a fixed object, but rather a "process" in which musical events are transformed; on the other hand it suggests a procession, such as one experiences in religious festivals, when everyone marches singing and praying through the streets or the countryside, and each song or prayer that is struck up in the first row of the whole procession, or of a large group whitin it, makes its way towards the rear, row by row, until it has reached the very last straggler. (Stockhausen, Kürten, 6/2/1975)



Karlheinz Stockhausen (1928 - 2007)
PROZESSION (Version 1971)

Seite 1:
(ausgeblendet ab 18'40)


Seite 2:
(eingeblendet ab 18'06)


Harald Bojé, Elektronium
Christoph Caskel, Tamtam
mit Joachim Krist, Mikrophonist
Peter Eötvös, Elektrochord mit Synthesizer
Aloys Kontarsky, Piano
Karlheinz Stockhausen, 2 Filter, Regler - Klangregie


1975 Polydor International GmbH
1975 Karlheinz Stockhausen
1 LP
2530 582


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