libros libres musica libre: octubre 2011

viernes 21 de octubre de 2011

Arvo Part's Miserere, Hilliards Ensemble (2000)

Arvo Part's Miserere, Hilliards Ensemble (2000)
Classical | Stereo | APE | 224kpbs | WinRar 190.9 mb

Three great compositions -- Miserere, Festina Lente and Sarah Was 90 Years Old -- from one of the most thoughtful composers of the 20th century: Arvo Part.

Track Listing
1. Miserere (34:34)
2. Festina Lente Orchester (5:37)
3. Sarah Was Ninety Years Old (25:38)

CD Information
1. Miserere (1989)
Conductor Paul Hillier
Western Wind Chamber Choir
Recording Studio Venue St. Jude-on-the-Hill, Hampstead, London, 9/1990
2. Festina lente 1988-1990
Conductor Dennis Russell Davies
Beethovenhalle Orchestra
Recording Studio Venue: Beethovenhalle, Bonn, Germany, 12/1990.
3. Sarah was ninety years old (1997)
Conductor Paul Hillier
Sarah Leonard (Soprano)
Rogers Covey-Crump (Tenor)
John Potter (Tenor)
Christopher Bowers-Broadbent (Organ)
Pierre Favre (Percussion)
Hilliard Ensemble
Recording Studio Venue St. Jude-on-the-Hill, Hampstead, London, 9/1990

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sábado 1 de octubre de 2011

Arvo Part: Litany, Tonu Kaljuste

En esta entrega compartimos Letania de Arvo Part, con el sonido coral de The Hilliard Ensemble, la ejecución de la Tallinn Chamber Orchestra, el Estonian Philharmonic Chamber Choir, y la Lithuanian Chamber Orchestra. La dirección musical es de Tonu Kaljuste y Saulius Sondeckis. La grabación de 1996 es de ECM Records.

(APE-162.3 MB).

With Litany, Estonian composer Arvo Pärt created one of his most stirring works: a nearly 23-minute-long composition for orchestra and vocal ensemble based on the 24 prayers of St. John Chrysostom (one for each hour of the day). Commissioned for the 25th Oregon Bach Festival, the composition is both memorable and timeless. It finds influences in everything from chant to the repetition of modern minimalism. Play it loudly and the striking vocals of the Hilliard Ensemble simply soar against the strings of the Tallinn Chamber Orchestra. The orchestral Trisagion harkens toward Litany's mood swings and impact, but--sans voice--lacks the mysticism. One of Pärt's best, and as sacred as modern compositions come.