One of the best serials of Goa-Trance compilations ever released. Mindbending, definitely a must have if you're an odlschool Goa-Trance lover.

One of the best serials of Goa-Trance compilations ever released. Mindbending, definitely a must have if you're an odlschool Goa-Trance lover.

One of the best serials of Goa-Trance compilations ever released. Mindbending, definitely a must have if you're an odlschool Goa-Trance lover.

Professor at both Princeton and Juilliard, Milton Babbitt is—by almost unanimous consent—America's most important composer of twelve-tone music. Yet for over three decades Babbitt's music has been more talked about, often in heated controversy, than heard or understood. Sextets, Babbitt's first solo string piece since the Composition for Viola and Piano. Written twenty years later, The Joy of More Sextets represents, in comparison with its predecessor, the ever-increasing lucidity of Babbitt's late style. Built of trichords (groups of three pitches), fragmentation becomes no longer an issue. Like all of Babbitt's mature music, Sextets is written in twelve-tone system, but to listen to it intelligently one must put aside common misconceptions of how twelve-tone music works—such as the idea that octaves are forbidden, or that no note can be repeated until the other eleven have been stated.

Getting to know Milton Babbitt’s music is like discovering a new world. For more than forty years Babbitt has been publishing compositions that explore the ramifications of Arnold Schoenberg’s epochal insight, and each successive work opens up new vistas or reveals striking new perspectives within the twelve-tone universe. The present recording spans Babbitt’s compositional career, touching on most of the musical veins that run through his work. The variety of his compositions is immediately apparent from their diversity of ensemble and scope; their underlying communality emerges upon greater familiarity. On first hearing, An Elizabethan Sextette and Playing for Time would appear to have little in common; yet they contain identical underlying abstract structures. About Time employs a simple variant of the same structure, and Groupwise contains structures closely related to those in the aforementioned works. Briefly put, these underlying structures are contrapuntal webs of twelve-tone rows, craftily woven together to yield a maximal variety of ways of combining segments of different rows into collections of the total chromatic. Supple enough to afford a wealth of different interpretations both of detail and mode of presentation, these contrapuntal networks nevertheless preserve certain recognizable large-scale attributes in all their incarnations.

Schoenberg's Notes for the Original 78's: (of the 1st. String Quartet) There will not be many people today who would understand the opposition which this work provoked at its first performance in Vienna February 5, 1907. Nevertheless, with a retrospective glance at the time in question, it is comprehensible. First its unusual length. It is composed in one very long movement, without the conventional interruptions after each movement. Influenced by Beethoven's C-Sharp-Minor-Quartet, by Liszt's Piano Sonata, Bruckner's and Gustav Mahler's Symphonies, we young composers believed this to be the artistic way to compose…..