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George Antheil
Bad Boy's Piano Music |
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Fireworks and the Profane Waltzes - Fireworks |
01:04 |
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| 2 |
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- Tempo di Valse |
01:09 |
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| 3 |
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- over sentimental - exaggerated |
02:25 |
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| 4 |
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The Golden Bird, after Brancusi |
04:43 |
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| 5 |
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Second Sonata The Airplane - Lent - first movement |
02:31 |
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| 6 |
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- Andante moderato |
02:45 |
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| 7 |
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Jazz Sonata (Sonata No. 4) |
01:33 |
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| 8 |
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Mechanisms |
12:50 |
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| 9 |
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Third Sonata Death of Machines |
01:50 |
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| 10 |
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(Little) Shimmy |
01:33 |
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| 11 |
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Sonata Sauvage - Niggers. Allegro vivo - joyeuse marcato, à la nègre |
02:45 |
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| 12 |
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- Snakes. (Lento) - Prestissimo - Lento |
05:07 |
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| 13 |
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- Ivory. Moderato - Xylophonic. Prestissimo |
00:49 |
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| 14 |
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Sonata V |
02:55 |
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| 15 |
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Sonatina für Radio |
03:55 |
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| 16 |
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Sonatina 1932 |
04:17 |
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Total Time |
52:11 |
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| Digital Booklet - only with album |
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| George Antheil was not only always ahead of his time; he was also an alert contemporary and ready to take in all artistic trends of the first half of the 20th century. There was hardly a kind of music he wasn't aware of, hardly a madness he didn't take part in, and hardly a scandal he missed, or missed to cause. All his personal entanglements are certainly reflected in his compositions – and we wouldn't expect any less from him; but his continuing reputation as a genuinely unique character is nevertheless mainly owed to his intangible polystylistics and, similar to Satie, his absolutely non-conformist compositional style. Especially his works for piano dating from the years 1919 to 1932 seem like a concentrate of his creative energies and, moreover, of his compositional life: from the slightly impressionist Fireworks and the Profane Waltzes, to the genuinely jazzy Jazz Sonata or the Sonata Sauvage, which describes a possible fierce future with the ease of a sleepwalker. And: Benedikt Koehlen demonstrates his truly playful approach to these unique works for piano. |
1CD | Instrumental | Piano | Contemporary | Special Offers |
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| Recommendation |
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Musica Viva 02: Space and sound, modernism and pluralism, "perfect harmony" and, finally, the fascination of collectively organized fireflies.  |
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| From subtle irony to direct provocation: Satie, the complacent gentleman with a hat and goatee, meets the "pianist-futurist" Antheil. |
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| “Its eyes are wide open, its mouth is agape, and its wings are stretched out. The angel of history must look like this. It has turned its face toward the past…“ |
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