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Gunnar Berg: Chamber Music Works With Piano / Balk-Moller, Ehde, Ullner, Snekkestad

Berg / Asmussen / Kaltoft / Madsen
Release Date: 01/31/2012 
Label:  Dacapo   Catalog #: 8226547  
Composer:  Gunnar Berg
Performer:  Soren MonradJohn EhdeErik KaltoftKenneth Larsen,   ... 
Number of Discs: 1 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Works on This Recording

Tronque by Gunnar Berg
Performer:  Soren Monrad (Marimba), John Ehde (Cello), Erik Kaltoft (Piano)
Period: 20th Century 
Written: Denmark 
Tobrud - Thaw by Gunnar Berg
Performer:  Kenneth Larsen (Bass Clarinet), Erik Kaltoft (Piano), Arne Balk-Moller (Violin),
Signe Asmussen (Mezzo Soprano)
Period: 20th Century 
Written: Denmark 
Pour violin et piano by Gunnar Berg
Performer:  Signe Madsen (Violin), Erik Kaltoft (Piano)
Period: 20th Century 
Written: Denmark 
Pour deux violoncelles et piano by Gunnar Berg
Performer:  Niels Ullner (Cello), John Ehde (Cello), Erik Kaltoft (Piano)
Period: 20th Century 
Written: Denmark 
Prosthesis by Gunnar Berg
Performer:  Torben Snekkestad (Saxophone), Erik Kaltoft (Piano)
Period: 20th Century 
Written: Denmark 
Piece for trumpet, violin and piano by Gunnar Berg
Performer:  Per Morten Bye (Trumpet), Arne Balk-Moller (Violin), Erik Kaltoft (Piano)
Period: 20th Century 
Written: Denmark 

Customer Reviews

Average Customer Review:  1 Customer Review )
 Great Dane April 1, 2012 By Dean Brierly See All My Reviews "Gunnar Berg is another in a long line of Danish composers who are finally receiving long overdue attention, thanks to wonderful Dacapo recordings like this one. Berg is noteworthy for having written the first Danish serial composition in 1950, but it’s not necessary to be familiar with that imposing term to enjoy his music, which communicates with rare emotional directness. Adding to the music’s accessibility is its basic tranquility; even Berg’s orchestral pieces have a chamber music intimacy. The spare, evocative works on this release were written between 1949 and 1969, and feature minimal instrumentation. Piano is present on all tracks, accompanied variously by cello, violin, marimba, clarinet, trumpet, saxophone and voice. Each piece proceeds with almost stately deliberation, which allows the listener to focus on the intricacy of their construction while surrendering to their beguiling colors and textures. Berg’s use of space and tonality reminds me at times of Webern, at others of Takemitsu, but his impressionistic language is fully original. He tends to use the piano in percussive fashion, relying on the stringed instruments to warm the edges around the music’s cool heart. Listening to these works is like huddling near a fire on a cold winter day. Berg rarely discussed the structural underpinnings of his music, preferring to let his compositions speak for themselves, which they do with unsurpassed and affecting eloquence." Report Abuse
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