The World According to George Antheil / Kopatchinskaja, Ahonen
George Antheil called himself a āPianist-Futuristā. A lover of speed, cars and airplanes, the American composer settled in the Paris of the AnnĆ©es Folles, where he frequented Picasso shows and Stravinsky concerts, and composed works such as theĀ Sonate sauvageĀ andĀ Jazz Sonata, which caused a scandal: during a concert in Budapest, he even brandished a pistol to restore silence in the hall . . . He hero-worshipped Beethoven, whose pieces he played in the first part of his recitals before moving onto his own music. In 1933, he returned to the United States, where he met John Cage and Morton Feldman. Patricia Kopatschinskaja and the young Finnish pianist Joonas Ahonen ā whom TheĀ Times, following what the journalist described as āone of those concerts you remember for everā, presented as the violinistās ādoppelgƤngerā! ā pay tribute to the self-proclaimed āBad Boy of Musicā.
Critical acclaim from the New York Times:
"George Antheil (1900-59) was a technophilic, self-declared bad boy of music; regardless of whether thatās true, he didnāt please his way into the canon. Here, however, this American composer gets a tribute that places him in a lineage of innovators from Beethoven to the mid-20th century ā traced by the daredevil violinist Patricia Kopatchinskaja and an enthusiastic partner in the pianist Joonas Ahonen.
"...Antheil would perform his works alongside, say, something from a century earlier, and Kopatchinskaja and Ahonen do the same by programming Beethovenās Violin Sonata No. 7 in C minor. It is a fiery and freely interpreted account reminiscent of Gidon Kremer and Martha Argerichās fearless, unpredictable, at times unwieldyĀ recordings from the 1990s.
"Like the Beethoven, the Antheil is in four movements, but it blends traditional form with a thoroughly modern sound that, in this reading, bustles at a breakneck pace with percussive and metallic timbres. Looking beyond Antheilās generation, the album also includes pieces by Morton Feldman and a nocturne by John Cage, works that subtly recall the sonatas but also stand alone as studies in sound-making and extremity ā of strength and softness, of overtone-rich expanses. Executed with discipline that borders on mechanical, they couldnāt be better suited to a world according to George." --The New YorkĀ ļ»æTimesļ»æ (Joshua Barone)
George Antheil called himself a āPianist-Futuristā. A lover of speed, cars and airplanes, the American composer settled in the Paris of the AnnĆ©es Folles, where he frequented Picasso shows and Stravinsky concerts, and composed works such as theĀ Sonate sauvageĀ andĀ Jazz Sonata, which caused a scandal: during a concert in Budapest, he even brandished a pistol to restore silence in the hall . . . He hero-worshipped Beethoven, whose pieces he played in the first part of his recitals before moving onto his own music. In 1933, he returned to the United States, where he met John Cage and Morton Feldman. Patricia Kopatschinskaja and the young Finnish pianist Joonas Ahonen ā whom TheĀ Times, following what the journalist described as āone of those concerts you remember for everā, presented as the violinistās ādoppelgƤngerā! ā pay tribute to the self-proclaimed āBad Boy of Musicā.
Critical acclaim from the New York Times:
"George Antheil (1900-59) was a technophilic, self-declared bad boy of music; regardless of whether thatās true, he didnāt please his way into the canon. Here, however, this American composer gets a tribute that places him in a lineage of innovators from Beethoven to the mid-20th century ā traced by the daredevil violinist Patricia Kopatchinskaja and an enthusiastic partner in the pianist Joonas Ahonen.
"...Antheil would perform his works alongside, say, something from a century earlier, and Kopatchinskaja and Ahonen do the same by programming Beethovenās Violin Sonata No. 7 in C minor. It is a fiery and freely interpreted account reminiscent of Gidon Kremer and Martha Argerichās fearless, unpredictable, at times unwieldyĀ recordings from the 1990s.
"Like the Beethoven, the Antheil is in four movements, but it blends traditional form with a thoroughly modern sound that, in this reading, bustles at a breakneck pace with percussive and metallic timbres. Looking beyond Antheilās generation, the album also includes pieces by Morton Feldman and a nocturne by John Cage, works that subtly recall the sonatas but also stand alone as studies in sound-making and extremity ā of strength and softness, of overtone-rich expanses. Executed with discipline that borders on mechanical, they couldnāt be better suited to a world according to George." --The New YorkĀ ļ»æTimesļ»æ (Joshua Barone)
Original: $10.50
-65%$10.50
$3.67Description
George Antheil called himself a āPianist-Futuristā. A lover of speed, cars and airplanes, the American composer settled in the Paris of the AnnĆ©es Folles, where he frequented Picasso shows and Stravinsky concerts, and composed works such as theĀ Sonate sauvageĀ andĀ Jazz Sonata, which caused a scandal: during a concert in Budapest, he even brandished a pistol to restore silence in the hall . . . He hero-worshipped Beethoven, whose pieces he played in the first part of his recitals before moving onto his own music. In 1933, he returned to the United States, where he met John Cage and Morton Feldman. Patricia Kopatschinskaja and the young Finnish pianist Joonas Ahonen ā whom TheĀ Times, following what the journalist described as āone of those concerts you remember for everā, presented as the violinistās ādoppelgƤngerā! ā pay tribute to the self-proclaimed āBad Boy of Musicā.
Critical acclaim from the New York Times:
"George Antheil (1900-59) was a technophilic, self-declared bad boy of music; regardless of whether thatās true, he didnāt please his way into the canon. Here, however, this American composer gets a tribute that places him in a lineage of innovators from Beethoven to the mid-20th century ā traced by the daredevil violinist Patricia Kopatchinskaja and an enthusiastic partner in the pianist Joonas Ahonen.
"...Antheil would perform his works alongside, say, something from a century earlier, and Kopatchinskaja and Ahonen do the same by programming Beethovenās Violin Sonata No. 7 in C minor. It is a fiery and freely interpreted account reminiscent of Gidon Kremer and Martha Argerichās fearless, unpredictable, at times unwieldyĀ recordings from the 1990s.
"Like the Beethoven, the Antheil is in four movements, but it blends traditional form with a thoroughly modern sound that, in this reading, bustles at a breakneck pace with percussive and metallic timbres. Looking beyond Antheilās generation, the album also includes pieces by Morton Feldman and a nocturne by John Cage, works that subtly recall the sonatas but also stand alone as studies in sound-making and extremity ā of strength and softness, of overtone-rich expanses. Executed with discipline that borders on mechanical, they couldnāt be better suited to a world according to George." --The New YorkĀ ļ»æTimesļ»æ (Joshua Barone)
