Uploaded November 2010 | Updated September 2026, 3 days ago
Ecrite en 1974, elle fut créé au Festival de Royan et donnée quelques jour plus tard à Boston per Herbert Henck. Maurice Fleuret, que y voyait la grande sonate romantique après Berg na s'y trompait guère, puisque je voulais écrite une sonate dont les racines étaient chez Berg et qui de là rencontrait le languate qui était naturellement le mien : celui de la grande 2e Sonate de Boulez.
Les différents « moments » de le œuvre s'imposaient tout naturellement comme par exemple le fugato au début de l'œuvre dont multiples voix allaient se résorber dans les « étoiles » du scherzo de la fin. Un autre élément que je ne voulais par éviter, st celui de la virtuosité pianistique, qui appliquée avec un certain sadisme, fait évoluer souvent la phrase dans un sens non prévisible.
Nombreux sont les passages qui, rédigés ou distribuées autrement aux deux mains du pianiste, l'auraient amenée vers d'autres possibilités sonores -- ce choix né du tumulte me fait parfois penser à ce que l'on appelait autre-fois « un programme ». Sans me l'avouer, ce programme préexistait mais quel peut-il être ?
A la musique de répondre.
René Koering
Né à Andiau (Alsace) en 1940, René Koering étudia la musique à Darmstadt dans les années Soixante. En 1961, création de sa première œuvre, commande des « Musiktage » de Donaueschingen. En 1967, il se voit attribuer le Prix de la « Fondation de la Vocation » et le Premier Prix de la Fondation Maeght. Ses œuvres (musique symphonique, concertos, œuvres électroaccostiques, musique de chambre et opéras) furent données dans divers festivals. Depuis 1971, il enseigne à l'Ecole des Beaux-Arts. Vice-Président de la Société Internaitonal de Musique Contemporaine, il occupe pas ailleurs d'importantes fonctions au sein de Radio France.
Michaël Levinas
Son père est le philosophe Emmanuel Levinas. Après des études au Conservatoire de Paris (Yvonne Loriod, Olivier Messiaen) où il obtient de nombreux premiers prix, Michaël Levinas effectue des stages au GRM, suit des cours à Darmstadt (Xenakis, Stockhausen, Ligeti) et, en 1974, devient co-fondateur puis responsable de l'ensemble l'Itinéraire. Pianiste concertiste international, il enseigne l'analyse au Conservatoire de Paris depuis 1992.
Dès les premières œuvres, en marge du sérialisme, Michaël Levinas développe un style singulier d'une extraordinaire puissance expressive.
Ecrite en 1974, elle fut créé au Festival de Royan et donnée quelques jour plus tard à Boston per Herbert Henck. Maurice Fleuret, que y voyait la grande sonate romantique après Berg na s'y trompait guère, puisque je voulais écrite une sonate dont les racines étaient chez Berg et qui de là rencontrait le languate qui était naturellement le mien : celui de la grande 2e Sonate de Boulez.
Les différents « moments » de le œuvre s'imposaient tout naturellement comme par exemple le fugato au début de l'œuvre dont multiples voix allaient se résorber dans les « étoiles » du scherzo de la fin. Un autre élément que je ne voulais par éviter, st celui de la virtuosité pianistique, qui appliquée avec un certain sadisme, fait évoluer souvent la phrase dans un sens non prévisible.
Nombreux sont les passages qui, rédigés ou distribuées autrement aux deux mains du pianiste, l'auraient amenée vers d'autres possibilités sonores -- ce choix né du tumulte me fait parfois penser à ce que l'on appelait autre-fois « un programme ». Sans me l'avouer, ce programme préexistait mais quel peut-il être ?
A la musique de répondre.
René Koering
Né à Andiau (Alsace) en 1940, René Koering étudia la musique à Darmstadt dans les années Soixante. En 1961, création de sa première œuvre, commande des « Musiktage » de Donaueschingen. En 1967, il se voit attribuer le Prix de la « Fondation de la Vocation » et le Premier Prix de la Fondation Maeght. Ses œuvres (musique symphonique, concertos, œuvres électroaccostiques, musique de chambre et opéras) furent données dans divers festivals. Depuis 1971, il enseigne à l'Ecole des Beaux-Arts. Vice-Président de la Société Internaitonal de Musique Contemporaine, il occupe pas ailleurs d'importantes fonctions au sein de Radio France.
Michaël Levinas
Son père est le philosophe Emmanuel Levinas. Après des études au Conservatoire de Paris (Yvonne Loriod, Olivier Messiaen) où il obtient de nombreux premiers prix, Michaël Levinas effectue des stages au GRM, suit des cours à Darmstadt (Xenakis, Stockhausen, Ligeti) et, en 1974, devient co-fondateur puis responsable de l'ensemble l'Itinéraire. Pianiste concertiste international, il enseigne l'analyse au Conservatoire de Paris depuis 1992.
Dès les premières œuvres, en marge du sérialisme, Michaël Levinas développe un style singulier d'une extraordinaire puissance expressive.
![Gilbert Amy, Inventions I, Pierre Boulez Domaine Musical Ensemble - Part 1 of 2
Gilbert Amy (born 29 August 1936, Paris) is a French composer and conductor. In 1954 he entered the Conservatoire de Paris where he was taught and influenced by Olivier Messiaen and Darius Milhaud and studied piano with Yvonne Loriod. His first compositions (Œil de fumée) date from 1955. In 1957 he met Pierre Boulez, under whose direction he composed his Piano Sonata. A year later Boulez commissioned from him a work called Mouvements which was performed in Darmstadt by the Orchestre du Domaine Musical, an ensemble whose goal was to promote new music. From 1958 to 1961 he attended the courses given by Karlheinz Stockhausen in Darmstadt. In 1962 Jean-Louis Barrault named him adjunct music director of the Odéon Theater in Paris. At the same time he undertook a career as conductor in Europe and Argentina. Between 1967 and 1973 he succeeded Pierre Boulez as the Director of the Domaine Musical. From 1973 to 1975 he was music advisor to ORTF and worked to reform the music heard on the radio. From 1976 to 1981, he was music director of the Nouvel Orchestre Philharmonique of Radio France. In 1984, Gilbert Amy succeeded Pierre Cochereau as Director of the Conservatoire National Supérieur de Musique at Lyon, while continuing to compose music. His talent as a composer has won him a number of awards including the Grand Prix National de la Musique in 1979, the Grand Prix of SACEM in 1983, the Grand Prix Musical of the City of Paris in 1986 and the Prix of the President of the Republic from the Academy Charles Cros in 1987.
[We apologize for the poor sound quality of this 1960s LP.] Gilbert Amy, Inventions I, Pierre Boulez Domaine Musical Ensemble - Part 1 of 2](https://i.ytimg.com/vi/JYgUxKpexv4/mqdefault.jpg)



![Johannes Brahms, 4 Pieces for Piano Op 119, 1 & 2 Beth Levin, Piano
Four Pieces for Piano, Op. 119 by Johannes Brahms - Beth Levin, Piano
1. Intermezzo: Adagio
2. Intermezzo: Andantino poco adagio
The poetic mood of the first intermezzo from Op. 119 belies its vague title. In a letter from May 1893 to Clara Schumann, Brahms wrote:
I am tempted to copy out a small piano piece for you, because I would like to know how you agree with it. It is teeming with dissonances! These may [well] be correct and [can] be explained—but maybe they wont please your palate, and now I wished, they would be less correct, but more appetizing and agreeable to your taste. The little piece is exceptionally melancholic and to be played very slowly is not an understatement. Every bar and every note must sound like a ritard[ando], as if one wanted to suck melancholy out of each and every one, lustily and with pleasure out of these very dissonances! Good Lord, this description will [surely] awaken your desire!
Clara Schumann was enthusiastic and asked him to send the remaining pieces of his new work.
Beth Levin is an acclaimed recitalist, concerto soloist, chamber musician and recording artist. A pianist of rare qualities and the highest professional caliber, states pianist Paul Badura-Skoda of Beth, and throughout her celebrated career she has approached both the Romantic repertoire and contemporary composers with equal facility and grace.
At age 12, Beth made her debut with the Philadelphia Orchestra, and soon after was selected to study with Rudolf Serkin at the Curtis Institute of Music. Mr. Serkin was an inspiration the moment he walked into a room, she recalls, a single word evoking the eloquence of a poem.
Beth made her New York solo recital debut in 1982 at the Metropolitan Museum of Art. In 2007, she performed Johann Sebastian Bachs Goldberg Variations at Steinway Hall in New York City, a return for her to a composer in the first repertoire I had studied as a child.
As a concerto soloist, Beth has appeared with The Philadelphia Orchestra, the Boston Pops Orchestra, the Boston Civic Symphony, the Seattle Symphony Orchestra, and numerous other symphony orchestras throughout the Americas, working with noted conductors such as William Smith, Arthur Fiedler, Benjamin Zander, Tonu Kalam, Sidney Rothstein, Milton Katims, Silas Huff and Joseph Silverstein.
Chamber music festival collaborations brought her to the Marlboro Festival, Casals Festival, Harvard, the Edinburgh Fringe Festival, the Ankara Music Festival and the Blue Hill Festival. As a Music From Marlboro artist, she toured the United States and Canada.
A founding member of the Gramercy Trio, the American Arts Trio and Vista Lirica, Beth has also collaborated with the Audubon Quartet, the Vermeer Quartet, The Reykjavik Woodwind Quintet, the Daniel Quartet, the Boston Artists Ensemble and the Saratoga Chamber Players, as well as touring Europe extensively with Trio Borealis. Her recordings include Bachs Goldberg Variations, released on Centaur Records in 2008.
As a soloist, chamber musician and interpreter of contemporary music, Beth performed and recorded works by Alan Campbell, Marc Eychenne, Brian Fennelly, Steven R. Gerber, Henryk Górecki, Louis Karchin, Michael Rose, Allen Shearer, Scott Wheeler and David Del Tredici. Beth Levins musical education began with Maryan Filar at the Settlement Music School in Philadelphia, and in addition to Rudolf Serkin, her teachers included Leonard Shure at Boston University and Dorothy Taubman in New York City. Johannes Brahms, 4 Pieces for Piano Op 119, 1 & 2 Beth Levin, Piano](https://i.ytimg.com/vi/KwBCRM5tx-g/mqdefault.jpg)


![Wallingford Riegger, Fantasy for Orchestra and Organ (1931) - Part 1 of 2.mpg
Wallingford Constantine Riegger (April 29, 1885 - April 2, 1961) was a prolific American music composer, well known for orchestral and modern dance music, and film scores. He was born in Albany, Georgia, but lived much of his life in New York City. He is noted for his use of Arnold Schoenbergs twelve-tone technique.
Riegger was born in 1885 to Ida Wallingford and Constantine Riegger. After his fathers lumber mill burned down in 1888, his family moved to Indianapolis, and later to Louisville, finally settling in New York in 1900. A gifted cellist, he graduated from the first graduating class of the Institute of Musical Art, later known as the Juilliard School, in 1907, after studying under Percy Goetschius. He continued his studies at the Hochschule für Musik in Berlin for three years. After returning in 1910, he married Rose Schramm, with whom he later had three daughters, in 1911. For a time, he returned to Germany and accepted various conducting positions, but this was interrupted by the joining of America in World War I in 1917, after which he moved back to America. From 1918 to 1922, he taught music theory and violoncello at Drake University. During the greater part of the time from 1930 to 1956, he continued publishing music and taught at various universities in New York, notably the Institute of Musical Art and Ithaca College. In 1957, he was called before the House Un-American Activities Committee, which was investigating Communism in the musical world. In 1958, Leonard Bernstein honored him by conducting his Music for Orchestra with the New York Philharmonic Orchestra. He died in New York in 1961 when he tripped over the leashes of two fighting dogs, resulting in a fall and a head injury from which he did not recover despite treatment.
His students included Alan Stout and Merton Brown. We have heard that when, toward the end of his life, George Gershwin told his friend (and tennis partner) Arnold Schoenberg that we wanted to study composition seriously, Schoenberg suggested that Gershwin study with Riegger. (We would very much like to confirm this story. The official version is that when Gershwin asked Schoenberg for composition lessons. Schoenberg refused, saying I would only make you a bad Schoenberg, and youre such a good Gershwin already. Again, what we heard was that Schoenberg then suggested Riegger.)
Riegger was known for his use of Schoenbergs twelve-tone system, but he did not use it in all of his compositions. For example, Dance Rhythms was not written in this style. Aside from Schoenberg, Riegger was also significantly influenced by his friends Henry Cowell and Charles Ives. Along with Cowell, Ives, Carl Ruggles, and John J. Becker, Riegger was a member of the group of American modernist composers known as the American Five.
Starting in the mid 1930s, Riegger began to write contemporary dance music. Later, as his career progressed, he began to use Schoenbergs twelve-tone technique more and more often, though he did occasionally revert to his earlier styles. From 1941 on, he focused almost solely on instrumental music, and his Symphony No. 3 received the New York Music Critics Circle Award and a Naumburg Foundation Recording Award.
[We apologize for the couple of skips in this very old LP.] Wallingford Riegger, Fantasy for Orchestra and Organ (1931) - Part 1 of 2.mpg](https://i.ytimg.com/vi/LH_Sw0t1YKc/mqdefault.jpg)


