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Track Listings
| 1. Three 2-Part Studies: I. Presto |
| 2. Three 2-Part Studies: II. Andantino |
| 3. Three 2-Part Studies: III. Allegro |
| 4. Prld: Allegro Molto |
| 5. Blues: Slow Blues Tempo |
| 6. Sonatina Fur Radio: Allegro Moderato |
| 7. Second Son, 'The Airplane': I. To Be Played As Fast As Possible |
| 8. Second Son, 'The Airplane': II. Andante Moderato |
| 9. Mechanisms |
| 10. A Machine: (No.XLIV From: 'La Femme 100 Tetes After Max Ernst') |
| 11. Sonatina (Death Of The Machines): I. Moderato |
| 12. Sonatina (Death Of The Machines): II. Accelerando |
| 13. Sonatina (Death Of The Machines): III. Accelerando |
| 14. Sonatina (Death Of The Machines): IV. Accelerando |
| 15. Jazz Son (Son No.4) |
| 16. Son Sauvage: I. Allegro Vivo |
| 17. Son Sauvage: II. Moderato |
| 18. Son Sauvage: III. Moderato/Xylophonic, Prestissimo |
| 19. (Little) Shimmy |
On this CD:
-
Airplane Sonata
Composed by George Antheil
with Herbert Henck
-
Jazz Sonata
Composed by George Antheil
with Herbert Henck
-
Sonatina for Radio
Composed by George Antheil
with Herbert Henck
-
Sonatina, 'Death of the machines'
Composed by George Antheil
with Herbert Henck
-
Prelude
Composed by George Antheil
with Herbert Henck
-
Blues
Composed by George Antheil
with Herbert Henck
-
Mechanisms
Composed by George Antheil
with Herbert Henck
-
(A) Machine
Composed by George Antheil
with Herbert Henck
-
Little Shimmy
Composed by George Antheil
with Herbert Henck
-
Sonate sauvage
Composed by George Antheil
with Herbert Henck
-
(3) Two-part Studies
Composed by Conlon Nancarrow
with Herbert Henck
-
Prelude
Composed by Conlon Nancarrow
with Herbert Henck
-
Blues
Composed by Conlon Nancarrow
with Herbert Henck
Product Description
BBC Music Magazine
'I am in all honesty bound to repeat my unshakeable conviction - the boy is a genius. Need I add that he has yet to write a work that shows it. If he keeps on exactly as he has started the sum total of all his genius will be nothing.' Aaron Copland's paradoxical 1926 judgement on his compatriot George Antheil is borne out by this selection of Antheil's piano pieces, astonishingly original in their blend of machine-age Futurism, jazz-age rhythms, Stravinskian collage forms and Webernian brevity, brilliant in their keyboard writing, yet ultimately leaving the impression of a creative mind crowded with ideas but unable to find the right way of realising them. Perhaps accidentally, ECM has reinforced this impression by pairing them with two early works by Conlon Nancarrow, which share some of Antheil's preoccupations - musical mechanisms, jazz rhythms, brevity - but make real, lasting music out of them. Herbert Henck's performances are wonderfully clear and precise; the recording is immaculate: five stars for both, without question. But (especially in view of the playing time) the disc can be recommended only to listeners with a special interest in the composers, or those curious about the gap between compositional success and failure.
'I am in all honesty bound to repeat my unshakeable conviction - the boy is a genius. Need I add that he has yet to write a work that shows it. If he keeps on exactly as he has started the sum total of all his genius will be nothing.' Aaron Copland's paradoxical 1926 judgement on his compatriot George Antheil is borne out by this selection of Antheil's piano pieces, astonishingly original in their blend of machine-age Futurism, jazz-age rhythms, Stravinskian collage forms and Webernian brevity, brilliant in their keyboard writing, yet ultimately leaving the impression of a creative mind crowded with ideas but unable to find the right way of realising them. Perhaps accidentally, ECM has reinforced this impression by pairing them with two early works by Conlon Nancarrow, which share some of Antheil's preoccupations - musical mechanisms, jazz rhythms, brevity - but make real, lasting music out of them. Herbert Henck's performances are wonderfully clear and precise; the recording is immaculate: five stars for both, without question. But (especially in view of the playing time) the disc can be recommended only to listeners with a special interest in the composers, or those curious about the gap between compositional success and failure.
Performance *****
Sound *****
© BBC Music Magazine 2001
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