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> Tiovo Tulev / EPCC / Paul Hillier "Songs", SACD

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Elephantus
post 12/07/2009, 21:07
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Tiovo Tulev / EPCC • Paul Hillier "Songs" SACD

Tiovo Tulev / EPCC / Paul Hillier "Songs" , SACD

Genre: Classical – Vocal

Гибридный SACD 5.0



Estonian Philharmonic Chamber Choir
Tallinn Chamber Orchestra
Paul Hillier, direction
with Robin Blaze, countertenor

    Songs (2005) 29'23
    [SONG OF SONGS • Cantique des cantiques • Das Hohelied]
  1. By night 3'05
  2. Where have you hidden, Beloved 2'24
  3. This life that I live 4'12
  4. Nigra sum 4'03
  5. Behold, thou art fair 5'01
  6. I am come into my garden 2'58
  7. Reveal, reveal your presence 3'11
  8. Mira que la dolencia de amor 4'26

  9. Der Herr ist mein getreuer Hirt I (1989) 2'55
    [KORNELIUS BECKER, 1598, after Psalm 23]

  10. Rejoice, rejoice, rejoice! (2006) 4'57
    [THOMAS TRAHERNE]
    To Her Majesty Queen Elizabeth II

  11. Leave, alas, this tormenting (2005) 10'30
    [THOMAS MORLEY]

  12. Jusquez au printemps (2005) 9'47
    [JOSQUIN DESPREZ]

  13. Der Herr ist mein getreuer Hirt II (2003) 5'53
    [KORNELIUS BECKER, after Psalm 23]


    total time 63’45

Recorded November, 2006 at St. Nicholas Church, Tallinn, Estonia
Executive Producer: Robina G. Young
Sessions Producer & Editor: Brad Michel
Recording Engineers: Brad Michel, Chris Barrett
DSD Engineer: Chris Barrett


harmonia mundi usa (HMU 807452, 7 93048 74526 4), 2008
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Elephantus
post 12/07/2009, 21:23
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Цитата( буклет )
Toivo Tulev
is a member of what I would describe as Estonia's middle generation of composers. Bom in Tallinn in 1958, he grew up while the country was still very much under Soviet domination, and his career as a professional musician (studying musicology and early music, developing as a composer, singing) began in the restrictive atmosphere and among the limited options of that time. But unlike senior figures such as Veljo Tormis and Arvo Pärt, he has seen the world change right at the time when his music was beginning to be performed, and he has contributed strongly to the stylistic pluralism that characterises Estonian music today. He is now part of the establishment - though happily, his dissident instincts and tendency quietly to speak his mind have not been impaired! - and is teaching the younger generation of composers who have grown up knowing the communist era only as history.

Tulev (like Pärt) studied Gregorian chant and early polyphony and its influence on his music has been profound, though not always obvious. During the 1980s he was a member of the Estonian Philharmonic Chamber Choir, and this background has given him an innate sense of what singers can do (although it hasn't made his vocal works any easier to sing!). Nevertheless many, perhaps the majority of his works have been for orchestra or instrumental ensemble, with many performances at home and abroad. I must confess that I was drawn to his music not so much by the earlier vocal works he had shown me, as by one of his instrumental pieces which I happened to hear 'blind' so to speak and recognised in it a very compelling voice. As a result of  that experience I asked to see any new vocal pieces he had written, and one of these, And then in silence there with me be only You, was subsequently recorded for the Baltic Voices series of CDs (volume 2).

Tulev's teachers have included Eino Tamberg, and the Swedish composer Sven-David Sandström; and during 1996 he studied electro-acoustic music at the Cologne Hochschule für Musik. But he also acknowledges the strong musical influence and encouragement of people such as Tõnu Kaljuste and Erkki-Sven Tüür, and the experience of singing in various early music vocal ensembles like Vox Clamantis, Choeur grégorien de Paris and Heinavanker. He is himself the founder (1995) and artistic director of the liturgical music ensemble Scandicus. At present he is Associate Professor and, since 2005, head of the Composition Department at the Estonian Academy of Music. Songs is the title of the largest work on this CD, but it reflects on the other works as well, and not only because they are vocal or choral. All of Tulev's music, it seems to me, 'sings' - in the sense that to sing is to place yourself within a special condition. A word that is sung is no longer merely a word, but has become enchanted, mesmerised by the fact of being sung. Singing is an expression of longing, of joy and pain mixed, of removal from the everyday world. And the linear interweaving of which Tulev's music is constructed is essentially vocal; even when played on instruments it is song.

Songs. Around 2004-5, while Tulev was composer in residence with the EPCC, I proposed that he write an extended new work for us, and ventured to suggest that it might be a polychoral piece with various groups of singers and instruments distributed around the concert venue. The work he came up with certainly matched this idea, but it also exceeded my expectations in every way. The music was designed for the resonant, airy acoustics of the 'Niguliste' (St Nicholas church) where the premiere was to be held, and the performers are in fact spaced out in the form of a cross:
Coro lontano

Archi
Orchestra I
Soli
Orchestra II
Coro I


Conductor

Organo lontano
Coro II




The text is a collage created by the composer from various sources: the Bible in both English (the King James version) and Latin translations (Neo Vulgata) of the Song of Songs; and two poems, Cantico espintual (Spiritual Canticle) and Coplas del alma que pena por vera Dios (Stanzas of the Soul that Suffers with Longing to See God), by St John of the Cross. Along with the original text in Spanish, selected passages of the English translation by Kieran Kavanaugh and Otilio Rodriguez are used.

These texts, expressing spiritual longing in the terminology of physical desire, seem perfect for the music - even though it may be odd to express it that way around. The words are in three languages - English, Latin and Spanish; says Tulev: 'The overlapping of languages works like a commentary, re-interpreting the original. When we aren't listening to our principal language the process of translating forms a kind of gap between the object and the new language, and this gap is filled with interpretation even while we are listening to it. The process of translation gives time for this and raises the activity above the normal.'

The small orchestra includes recorder and duduk (a Eurasian wind instrument somewhat akin to the oboe). The duduk's longing quality is well suited to the poems, and the players improvise embellish¬ments, drawing on the background (that they share with the composer) in early music performance. The work, which is dedicated to the writer, was premiered in October 2005 as part of the NYYD ('NEW') festival.

Der Herr ist mein getreuer Hirt. The tune, although it may sound like a quotation, is in fact original. 'I had the feeling that I am worth nothing as a composer until I can create something using a very limited range, just a song. I wanted a childlike text, and found it in Bach, in a passage from the Becker Psalter' (published in 1602) - paraphrasing Psalm 23: The Lord is my shepherd'. The original version was written in 1989 on the birthday of Pope John Paul II and is dedicated to him. The second, more extended version is dedicated to Juta Tulev.

Jusquez au printemps. 'Until spring comes' was written in the dark autumn and winter nights of 2004 and 2005, and was the first fruit of Tulev's year as EPCC composer in residence. Most of the text is taken from the chansons Mille regretz and Adieu mes amours by Josquin Desprez. An additional line in the end of the text, slightly altering the meaning of the poems, was added during the composing of the music. Although I feel the occasional echo of phrases from Josquin's music, there are no actual musical quotations here. The choral writing is harmonically dense and virtuosic, full of longing and (if one looks for it, in the second text) an occasional flicker of humour.

Leave, alas, this tormenting. Written in early spring 2005, this piece is scored for percussion trio and solo soprano, with a pre-recorded vocal quartet featuring the same soprano plus alto, tenor, and bass. There is quite a long and rather soft instrumental introduction during which the melodic material is gradually unfolded, before the pre-recorded voices are heard in four parts. Thereafter the 'live' soprano voice sings alone and in duet mostly with her pre-recorded self. The effect is to blur the distinction between presence and absence. The words (with a few minor changes) and some fragments of the musical phrases are taken from Thomas Morley's madrigal in his First Booke of Balletts, published in 1594.

Rejoice! Rejoice! Rejoice! In October 2006 Queen Elizabeth II made a state visit to Estonia. Some time before that, Nigel Haywood, then British ambassador to Estonia, contacted me to propose that a new work be commissioned for the choir to sing at a reception in her honour. I recommended Tulev for the job. For his text Tulev made a compilation of lines and phrases from Centuries of Meditations by Thomas Traheme (1636?-1674). Traheme's magnificent prose poems had languished in manu¬script for more than two centuries before they were discovered and published by Bertram Dobell in 1908. Tulev first encountered them through hearing Gerald Finzi's cantata Dies Natalis. After the first performance, Her Majesty remarked that it sounded very difficult (it is) and Prince Philip asked the composer 'Do you live on top of a mountain with a view of a lake?' (There are lakes but no mountains, barely even a hill in Estonia.) The work is dedicated to Her Majesty Queen Elizabeth II.

PAUL HILLIER


Пол Хиллер достаточно подробно представил произведения это диска, да и автора, одного из ведущих композиторов Эстонии, тоже. Диск записывался с Церковь Св. Николая, для резонансной акустики которого было написано титульное произведение: Песни. Пространственная расстановка других треков выдержана в стиле Песен (схема в буклете). Наше место (зрителя) буквально сзади дирижера. Тойво Тулеев тяготеет к спокойному мелодизму, сказывается начальная работа в хоре. Такая спокойная вокальная музыка с инструментальными вкраплениями, наполненная акустикой собора. А еще есть 11-й трек с загадочной маримбой на фоне перкуссий в этом же соборе (PaukenEST Trio).

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