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Vocal Collection, page 43

   Found CDs: 527
 

Beat Furrer - FAMA

Beat Furrer - FAMA
ID: KAI0012562
CDs: 1
Type: SACD
Collection: Vocal Collection
Subcollection: Voices and Orchestra

World premiere recording

“... and every voice reaches listening ears”: When one blocks out the context of this formulation in Ovid’s brilliant description of the house of Fama, at the beginning of Book XII of his Metamorphoses, one can imagine without difficulty a person, who would find this so obvious an experience, that at first it hardly seems worth mentioning. But everyone, who understands the world by hearing the voices that reach their ‘listening ears’ gains thereby a similar experience, which for the most part we tend to block out, whether in the noisy urban environment or mainly in ostensibly quieter rural surroundings. With every perception, we select, order, classify or, during a visit to a classical concert, aurally ‘correct’ mistunings and overhear those fine overtones, out of which a fascinating cosmos of new sounds has developed in the past decade. Yet if one reads the Ovid rather more carefully, a strange and unique feature of the place described comes into view: it does not distinguish where a sound comes from, does not ask what it is, accepts everything that comes to it, and allows it to reverberate within, transformed into a gentle resonance. What Fama, the goddess of Rumour, then does with this wealth of information lies on a different page of course, and we will yet have to return to it. The open ear registers what comes to it without prejudice, and each listener should not just consciously activate it now and then with music. And Ovid’s image contains something else: the description of Fama’s house as a space filled with sound acts as an express reminder that, for one thing, without a space, sound would be unthinkable. For another, it records both the distance between what is making the sound and the place of its perception as well as the bridging of this distance through the expanse of space. In addition, that account evokes something which fundamentally distinguishes the auditory from other senses of perception: in opposition to the visible, sounds moving in space can freely develop, overcome obstacles without effort and intermingle with one another, without losing their own unique characteristics. In was Ovid’s incredible conception of a place to which all the events and sounds of the world come and find resonance that always fascinated Beat Furrer. (Daniel Ender)

Includes booklet with text by Daniel Ender
21.00 eur Temporarily out of stock

GÖSTA NEUWIRTH - L'oubli bouilli

GÖSTA NEUWIRTH - L'oubli bouilli
ID: KAI0012972
CDs: 1
Type: CD
Collection: Vocal Collection
Subcollection: Voices and Chamber Ensemble

Gösta’s disinterest in homogenous, unified forms results in swift transitions between sonic states. Non-repetition. “I define sound in terms of structure, not in terms of expressivity.” In this, the sound-and thus probably also its sensuosity, in a gradual, carefully way-is compositionally lent weight in L‘oubli... “via the use of the harp and the keyboard instruments accordion and piano, as well as by exploiting string colours.” Such apparitions of colour change rapidly, fluctuate.
(Lothar Knessl)
21.00 eur Buy

Hanspeter Kyburz - Malstrom

Hanspeter Kyburz - Malstrom
ID: KAI0012152
CDs: 1
Type: CD
Collection: Vocal Collection
Subcollection: Voices and Orchestra

Includes booklet with texts by Hans-Peter Jahn and Hanspeter Kyburz
21.00 eur Buy

Salvatore Sciarrino - Le voci sottovetro, Infinto nero

Salvatore Sciarrino - Le voci sottovetro, Infinto nero
ID: KAI0012022
CDs: 1
Type: CD
Collection: Vocal Collection
Subcollection: Voices and Chamber Ensemble

(text by Salvatore Sciarrino after Maria Maddalena de' Pazzi)

Attracted by the borderline experiences and solitary forms of a gradually darkening Renaissance, these compositions by Salvatore Sciarrino revolve around three figures from the 16th century, all of whom lost control in the field of tension between feverish living and spiritual demise, between brightness and damnation, inspired, driven and obsessed. The famous poet Torquato Tasso describes in three authentic letters (Lettere poetici) his tormenting visions of goblins and phantoms. This is all reflected in Sciarrino's intense, whispering, whirring music, in which silence is as significant as the birth of sound, "Almost naked, sober," remarks the composer, "and that is an important element when one is listening to music. Only in this way can it bore its way into the flesh."
21.00 eur Buy

José M. Sánchez-Verdu - Orchestral Works

José M. Sánchez-Verdu - Orchestral Works
ID: KAI0012782
CDs: 1
Type: CD
Collection: Vocal Collection

1 - Junge Deutsche Philharmonie - Lothar Zagrosek, conductor
2 - Claudia Barainsky, soprano / Gabriel Suovanen, baritone / Banchetto musicale, viola da gamba / Orchestre de la Suisse Romande - Marek Janowski, conductor
3 - Joan-Enric Lluna, clarinet / Orquesta Nacional de España - Miguel Harth-Bedoya, conductor
4 - hr-Sinfonieorchester - Pascal Rophé, conductor
5 - 7 hr-Sinfonieorchester - Peter Rundel, conductor

The five orchestral works on this CD communicate phenomenal colors and the intense sensuousness of mysterious formal progressions. Silence, shadows, absence: it is above all the darker neighborhoods of the human soul that captivate Sánchez-Verdú’s interest. Exploring marginal realms which, in their beauty and refinement of tone, contain both the brilliant light of Spain’s south and utter darkness: this is the art of composer José M. Sánchez-Verdú.
(Rainer Pöllmann)

Includes booklet with text by Rainer Pöllmann and Thorsten Palzhoff
21.00 eur Buy

Salvatore Sciarrino - Quaderno di Strada / Klangforum Wien - S. Cambreling

Salvatore Sciarrino - Quaderno di Strada / Klangforum Wien - S. Cambreling
ID: KAI0012482
CDs: 1
Type: CD
Collection: Vocal Collection
Subcollection: Voices and Orchestra

Light and air in a state of constant, subtly detailed movement: this is also the nature of Sciarrino‘s music, as if it had soaked up all those delicate colours and adopted the mobility of air, captured its nocturnal buzzing-sounds with a net veil and transformed them into fluctuating sonorities, roaring and murmuring. One could almost think that the flickering odours of Mediterranean landscapes had entered the fleeting images of such music. Vague suggestions emerging from an old cultural realm, transposed into the present, lingering briefly and then disappearing once more. An interplay of sound and silence, free-floating fragments no longer within the domain of the unambiguous: one listens to them spellbound. (Lothar Knessl)

Includes booklet with text by Salvatore Sciarrino and Lothar Knessl
21.00 eur Buy

Birtwistle - Orpheus Elegies - Three Bach Arias

Birtwistle - Orpheus Elegies - Three Bach Arias
ID: CC2020
CDs: 1
Type: CD
Subcollection: Voices

Sir Harrison Birtwistle’s compositional life from the mid 1970s to the 1980s was dominated by his opera The Mask of Orpheus, and the same period saw the origin of the Elegies, written for Melinda Maxwell and Helen Tunstall while they were working with the composer at the National Theatre.
‘They are like enchanted preludes…Enchantingly performed here’ The Sunday Times


The 24-page full colour CD booklet has a 6,000 word programme note in English including details of the Orpheus myth and Rilke's Sonnets to Orpheus, an interview with Sir Harrison Birtwistle, and a detailed track-by-track
guide, including translations. There are biographies of all the players and many photographs.


Introduction by Melinda Maxwell:

The myth of Orpheus and his music has occupied Sir Harrison Birtwistle (universally known as Harry) for most of his life, and the 26 Orpheus Elegies for oboe, harp and counter-tenor are a further comment in miniature on that myth. They are a re-telling of the story, and the mystery and power that surrounds an imagined music of Orpheus; music that represents a combination of the ethereal - Apollo - and the earthly - Dionysius; music that seduced creation itself with its power of expression.

The Sonnets to Orpheus by Rainer Maria Rilke, known to Harry for a long time, gradually became part of the composition process, and as the music was being written certain words and phrases from those sonnets seemed to clarify and strengthen the meaning of the music.

In time, Harry found that for some of the Elegies, a phrase was not enough. In Elegies 11, 13 and 14 the sonnets are set for voice in their entirety. The voice part is for counter -tenor and written for Andrew Watts. In Elegies 17, 20 and 26 portions of a sonnet are sung. For the remaining twenty Elegies, a phrase taken from a sonnet is written at the end of the instrumental music. For example, Elegy 12 (CD track 16) is fast, manic, rhythmic and repetitive, and the written words are the penultimate line of Sonnet number 5 from Rilke's first set: "the lyre's bars do not constrain his hands". As an aside these words add further meaning to the music, and the music evokes the atmosphere of the words.

Early on in the compositional process, Harry asked me about unusual sounds on the oboe, sounds encompassing harmonics and multiphonics (combinations of sounds that speak together forming chords that have unusual pitch formations and are mostly non-diatonic). I played some to him and wrote down those he liked. He particularly liked pitches that transformed and hung into multiphonics In Elegy 7 these sounds are used almost exclusively, to produce a music that is eerie and other-worldly, finishing with Rilke's words "[He emerged like] ore from the stone's silence". In the very first Elegy based around the note E, Birtwistle uses a double harmonic of an open fifth on E to splice, enrich and delve inside the sound, reaching further depths of expression. Rilke's words for this stark opening are "A tree has risen. Oh pure transcendence!".

Three of the Elegies use metronomes, and these give out a mechanical, inevitable, sense to the music. Elegy 25 uses two metronome pulses at slightly different speeds; Rilke's words are "Does time, the wrecker, really exist?".

The idea for the piece began in the late 1970s when Harry and I and the harpist Helen Tunstall were working at the National Theatre in London, and he expressed the wish to write a piece for oboe and harp. The first draft was written for the 2003 Cheltenham Festival, although not all the Elegies were completed and it was still a work in progress. Certain revisions and further additions ensued, and a longer version appeared in the 2004 Cheltenham Festival. Betty Freeman paid for the commission and Heinz and Ursula Holliger gave the world premičre with Andrew Watts at the Lucerne Festival in September 2004. The London premičre was given by myself, Helen and Andrew in October 2004 at the South Bank.

Throughout many rehearsals and subsequent performances in the UK and at the Holland (2006) and Bregenz (2007) Festivals, Harry offered further insights into our interpretations of phrase, nuance, pace and dynamics, and this recording is the culmination of this entire process. It is a piece full of contrasting voices, from music that is by turns warm, tender, almost wistful, and also bold, relentless, sometimes violent. Each Elegy speaks with its own voice, and such is the power of the composer's invention one feels that many more could follow.
21.00 eur Buy

Beat Furrer: Stimmen by Beat Furrer, Rupert Huber and Marino Formenti

Beat Furrer: Stimmen by Beat Furrer, Rupert Huber and Marino Formenti
ID: KAI0012272
CDs: 1
Type: CD
Subcollection: Choir

21.00 eur Buy

Matthias Pintscher: Fünf Orchesterstücke; Musik aus Thomas Chatterton; Choc

Matthias Pintscher: Fünf Orchesterstücke; Musik aus Thomas Chatterton; Choc
ID: KAI0012052
CDs: 1
Type: CD
Subcollection: Orchestra

21.00 eur Buy

Georges Aperghis - Teeter-Totter by G. Aperghis, Aperghis, Seesaw, E. Pomarico and S. Cambreling

Georges Aperghis - Teeter-Totter by G. Aperghis, Aperghis, Seesaw, E. Pomarico and S. Cambreling
ID: KAI0013222
CDs: 1
Type: CD
Collection: Vocal Collection
Subcollection: Voices and Orchestra

21.00 eur Buy
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