Sonata, for 2 voices, for any 2 or more instruments encompassing the ranges c' to c'''
Atlas Eclipticalis, for orchestra (parts for 86 musicians): Pages 193-204 of the orchestral parts of Atlas Aclipticalis
Composition For Three Voices, for any three instruments encompassing the ranges d to d'''
Concert for Piano & Orchestra, for piano & 13 other instruments in any combination: Solo for Baritone Saxophone (from pages 145-166 of the orchestral parts of Concert for Piano & Orch
Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subject of the Solo, for any 3 insts
Sonata, for 2 voices, for any 2 or more instruments encompassing the ranges c' to c'''
Atlas Eclipticalis, for orchestra (parts for 86 musicians): Pages 193-204 of the orchestral parts of Atlas Aclipticalis
Composition For Three Voices, for any three instruments encompassing the ranges d to d'''
Concert for Piano & Orchestra, for piano & 13 other instruments in any combination: Solo for Baritone Saxophone (from pages 145-166 of the orchestral parts of Concert for Piano & Orch
Solo with Obbligato Accompaniment of Two Voices in Canon, and Six Short Inventions on the Subject of the Solo, for any 3 insts
The 35th volume in Mode's Complete John Cage Edition is also the second release in Ulrich Krieger's series of interpretations for solo saxophone and saxophones with other instruments. Ensemble pieces of comparatively large dimensions were gathered on A Cage of Saxophones: Vol. 1, so this follow-up disc presents pieces for smaller combinations and solos, though with no less originality or charm. Even though most of these works were composed for open instrumentation, saxophones suit Cage's music especially well, not only ...
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The 35th volume in Mode's Complete John Cage Edition is also the second release in Ulrich Krieger's series of interpretations for solo saxophone and saxophones with other instruments. Ensemble pieces of comparatively large dimensions were gathered on A Cage of Saxophones: Vol. 1, so this follow-up disc presents pieces for smaller combinations and solos, though with no less originality or charm. Even though most of these works were composed for open instrumentation, saxophones suit Cage's music especially well, not only because of their clean tone quality, wide dynamic range, and exceptional variety of timbres, but also because of their interesting associations with jazz and modernism. Listeners may be excused for thinking the opening Sonata for Two Voices (1933) is a little like bebop avant la lettre, and the Composition for Three Voices (1934) offers an example of the young composer's serious-minded counterpoint, not too far removed from Stravinsky's "objective" examples. But the Cage most will...
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