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Rihm: Jagden und Formen
 
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Rihm: Jagden und Formen

13 May 2002 | Format: MP3

£7.99 (VAT included if applicable)
Also available in CD Format
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6:52
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0:45
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1:23
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2:50
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4:42
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4:44
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3:42
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2:02
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4:35
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4:38

Product details

  • Original Release Date: 12 Mar. 2002
  • Release Date: 12 Mar. 2002
  • Label: Deutsche Grammophon (DG)
  • Copyright: (C) 2002 Deutsche Grammophon GmbH, Hamburg
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 50:55
  • Genres:
  • ASIN: B001N5GVKO
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 40,564 in Albums (See Top 100 in Albums)

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By Ivar de Vries on 30 Nov. 2014
Format: Audio CD
This 50-odd minute piece, recorded here in its third incarnation, is one of those extremely busy “information overload” compositions that are typical of avant-garde composers at some point in their careers. This example by Wolfgang Rihm sounds very similar to for instance Boulez’s 1980s piece Dérive 2 (which also exists in multiple versions). Such pieces come across as virtuoso re-workings of Schönberg’s compositions in this style, like his Variations for Orchestra.
One does wonder what the point of pieces such as these might be. Are they meant to induce bafflement into the listeners, like how can any one mind even think of, let alone construct such a frenetic sequence of organized sounds, or how can anyone succeed in actually performing them? Perhaps they’re meant as intellectual challenges to the composers themselves or as physical challenges to those very performers? In performances of pieces like this there is the added excitement of “are they going to pull it off?” and the relief when they actually do. Or perhaps composers are trying to impress each other or “out-Boulez” that moral compass of avant-garde composition, Pierre Boulez? My suspicion is the latter points are closer to the truth.
Is Jagden & Formen actually listenable? Well, without recommending it as the very first attempt to hear an avant-garde work, the answer is a qualified yes. Once one gets past the initial jittery impression, one can simply let it wash over you or choose to focus on those voices taking part in the intricate patterns that are not immediately obvious, because for instance slower or lower. This very clear and transparent recording by the 24 strong Ensemble Modern really helps in this regard. So finally one is able to admire the whole achievement and feel a kind of exhilaration about it, but do not expect to return to it very often or to become emotionally attached.
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