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> Tarik O'Regan / Conspirare "Threshold of Night", SACD

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Elephantus
post 13/07/2009, 10:38
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Tarik O'Regan / Conspirare "Threshold of Night", SACD

Tarik O'Regan / Conspirare "Threshold of Night" , SACD

Genre: Classical – Vocal, Instrumental

Гибридный SACD 5.0

total time 59’31


Conspirare
Craig Hella Johnson & Company of Voices


TARIK O'REGAN (b.1978)
Threshold of Night
Music for Voices & Strings
  1. Had I Not Seen the Sun (2007) [emily Dickinson] 1'52

    The Ecstasies Above (2006) [edgar allan poe]
  2. 5'34
  3. 5'40
  4. 6'11
  5. Threshold of Night (2006) [Kathleen raine] 6'19

  6. Tal vez tenemos tiempo (2007) [pablo neruda] 7'49

  7. Care Charminge Sleepe (2003, rev. 2007) [john fletcher] 6'13

    Triptych (2005)
  8. I. Threnody 4'28
  9. II. As We Remember Them 7'53
  10. III. From Heaven Distilled a Clemency 5'14

  11. I Had No Time to Hate (2007) [emily Dickinson] 2'13

Recorded October 2007 at Troy Savings Bank Music Hall, Troy, New York.
Executive Producer: Robina G. Young
Sessions Producer: Blanton Alspaugh
Recording Engineer: John Newton
Editor: Blanton Alspaugh


harmonia mundi usa (HMU 807490, 0 93046 74906 4), 2008
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Elephantus
post 13/07/2009, 10:47
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Цитата( буклет )
Tarik O'Regan writes...

The two short Emily Dickinson settings that open and close this programme of premiere recordings were commissioned by Conspirare and Craig Hella Johnson for this recording. They frame the programme rather like a compositional 'inhalation' and 'exhalation', a crescendo and decrescendo or a prelude and postlude. Densely textured, the music aims to hint at the myriad readings Dickinson's surface-simple poetry yields in its many readers. Each setting uses a solo soprano and tenor, their voices referencing the polarities inherent in each poem ('sun' and 'shade'; 'love' and 'hate').


The Ecstasies Above takes for its title a phrase found in the lyric poem, Israfel, by Edgar Allan Poe (1809-1849), which was first published in 1831 in The Southern Messenger. The poem is set in its entirety, with the exception of one stanza.

Through his creative description of the angel, Israfel, and the heavens, Poe creates a virtuous image of the supernatural. Poe compares this heavenly vision to the harsh reality of human existence. Whilst the beauty of Israfel's voice and lyre can silence even the moon and the stars in the heavens, Poe suggests that if Israfel were placed in an earthly environment, he would not sing with such zest. From the Koranic source of the name for the protagonist, the story is refashioned by Poe into an homage of ecumenicity to an all-encompassing angel of music.

Musically the score makes much use of textural variation between the three groups (full chorus, solo octet and string quartet). The tug of war between material that is almost childlike in its playfulness and sections that seem more sombre reflect my own thoughts on Poe's oeuvre. As a European transplanted to North America, I am intrigued by the seeming disparity between the quasi-adulation of Poe's poetry in Europe and the much cooler reaction he has always encountered in his native environs.

I wrote The Ecstasies Above at Yaddo, a mansion now used as an artists' retreat in Saratoga Springs, New York. Before Yaddo took its present form, it was an area of land first settled in the late 18th century by Jacobus Barhyte, a soldier in the American Revolution. Visitors to Barhyte's estate included John Quincy Adams and Martin Van Buren, Washington Irving, James Fenimore Cooper and, most importantly in the context of my work, Edgar Allan Poe. He visited in the early 1840s where he scripted part of an early version of his most famous poem, The Raven.

The Ecstasies Above, commissioned from the Robert Baker Commissioning Fund for Sacred Music by Yale Institute of Sacred Music, was premiered by Yale Schola Cantorum, under the direction of Simon Carrington, on March 4, 2007, in Woolsey Hall, Yale University.


Threshold of Night (setting one of Kathleen Raine's Three Poems of Incarnation) was commissioned by St. John's College, Cambridge and was premiered under the direction of David Hill in the College chapel on November 25, 2006. The piece went on to win a 2007 British Composer Award. Written for Advent, the work aims to highlight the yearning that all societies have, in their time of need, for guidance from beyond their community. By coincidence, however, this composition was completed on the eve of August 29, 2006, one year after Hurricane Katrina, one of the deadliest in the history of the United States, made landfall in Louisiana. Looking at Raine's words in this context ('Go back, my child, to the rain and storm', 'I will not go back for sorrow or pain'), the poem can be seen to echo the conflicted and anguished thoughts of displaced New Orleanians. The original Advent sense of desired guidance takes on a specific, if unintentional, significance with regard to the tragic outcome of that hurricane; this is emphasized by the blues-inflected harmonies found throughout Threshold of Night.


Tal vez tenemos tiempo ('Maybe we have time') was also commissioned specifically for this recording by Conspirare. It sets a poem of the same name by Chilean poet Pablo Neruda, which was initially suggested to me by Craig Hella Johnson in an excellent translation by Alastair Reid. As Reid eloquently puts it, however, 'English and Spanish move very differently, like streams that run in quite separate courses'. With this in mind I decided to look at Neruda's original language and found a musicality there that no English translation could possibly capture. As Reid himself acknowledges, he can only offer his translation 'as an homage to the original'.

I decided, therefore, to allow Neruda's language the utmost 'breathing' space. As a result, Tal vez tenemos tiempo stands apart from the other works presented in this program in its homophony. There is something so universally spiritual in the linguistic rhythm of the poem that I wanted to amplify this facet in the clearest way. There are almost no overlapping, or densely 'orchestrated' sections in this work.

The choir moves as one for much of the piece, echoing Neruda's call for unity in carving out the time, as an individual or wider society, to 'simply be'.


Care Charminge Sleepe. As the protagonist of John Fletcher's 1614 stage work, Valentinian III, lies poisoned on stage, a song is performed (originally composed for lute and voice by Fletcher's contemporary, Robert Johnson) luring him to sleep, 'thou Easer of all woes'. Without wishing to allude to Johnson's music in any way, I was interested in emphasizing the juxtaposition of Valentinian's violent death and the peaceful beauty of Fletcher's words. The opening section, fanning out from a single pitch, leads into a quasi-fugal passage before returning again in a higher, more urgent tessitura as the moment of death occurs ('kiss him into Slumbers like a Bride'). Written in 1999, Care Charminge Sleepe is scored for double choir, and is a faithful reproduction of Fletcher's original 17th-century text, with anachronistic spelling, as set in the musical score. This work is provided here for the first time in a specially prepared version for choir and strings.


Triptych represents the concatenation of two commissions. Movement I (Threnody) was commissioned with funds from the RVW Trust for the inaugural concert of the Choir of London conducted by Jeremy Summerly in Christ Church, Spitalfields on December 18, 2004; the work, premiered as Threnody, was subsequently toured by the Choir to Jerusalem and the West Bank from December 19 to December 26, 2004. Movements II (As We Remember Them) and III (From Heaven Distilled a Clemency), commissioned by Portsmouth Grammar School with financial support from the PRS Foundation, were premiered as And There Was a Great Calm in a contiguous version for lower strings and upper voices by the Portsmouth Grammar School Chamber Choir and the London Mozart Players in a concert at Portsmouth Anglican Cathedral on November 13, 2005, conducted by Nicolae Moldoveanu.


TARIK O'REGAN


На этот раз это альбом целиком произведения молодого композитора Тарика О’Ригана. На предыдущем, "Scattered Rhymes", исполняемым Орландо Консорт, он представил две композиции в компании МашО, ДюфАи (оба из эпохи Возрождения) и современника Брайерса. Канун Ночи очень удачное название для альбома. Слушать вечером на пленэре красивые распевные достаточно гармоничные произведения, представленные Заговорщиками, одно удовольствие. Небольшая промашка, по-моему, с пространственным представлением. Хор выставлен идеально. Сопрано, альты на линии фронтов, теноры, и басы – глубже, но акустика помещения на распевах при усилении голоса уводит их голоса вверх вокруг. А вот струнные, в особенности скрипки, оказались почти у микрофонов и их звучание оказывается над головой – для восприятия не очень ожидаемо. Их бы больше вперед или в стороны немного увести. Правда в основном это хоровая работа, а по поводу скрипок можно сказать, что так задумано было, стало быть, так и надо слушать. Собственно это не раздражает, скорее, вызывает недоумение, и только. Ведь заполнение пространства густым малиновым звуком виолончелей и баса несколько не портит картины.

Музыка – 10
Запись – 10
Многоканальность - 9
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Vladimir
post 20/04/2011, 10:15
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Необычайно красивый альбом, для меня совершенно нового, молодого (1978 г.р.) английского композитора, с некоторыми алжирскими корнями. Альбом дважды выдвигался на Грэмми, что вполне заслуженно. Полное ощущение космоса и вечности, при том, что понятно, что это музыка современная. Как он сам признаётся в Википедии, на его становление оказали влияние совершенно разные музыкальные стили: от раннего джаза на Blue Note, до The Who и Led Zeppelin, что, имхо, местами слышно. Качество записи на уровне Harmonia Mundi, т.е. супер. К многоканальности претензий никаких: всё очень мощно и объёмно.
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