Arnold Rosner “Requiem Op 59”
Kelley Hollis – soprano, Feargal Mostyn-Williams – countertenor, Thomas Elwin – tenor, Gareth Brynmor John – baritone, Crouch End Festival Chorus, David Temple – choir director, London Philharmonic Orchestra with Nick Palmer – director, Walter Simmons – producer Jonathan Allen – Engineer. Toccata Classics TOCC 0545.
As we lost 200,000, with many surviving but persistent medical problems, Rosner’s Requiem is 6th in line with the COVID-19 era. Rosner’s music may seem dark and angry, with matching lyrics. It is not known what motivated Rosner in 1973, in the 28 years, to write about mortality in such dark tones using texts about death around the world. I’ve been told that he had no non-public losses at the time, but death attracted many artists, starting with 19th-century romantics. in the fields of art, music and literature. Only one component of the Requiem is followed by the Latin Roman Catholic Mass: the Eighth Movement (Balance Me). The Book of Revelation is mentioned in the first movement, which was originally intended for opera founded on The Seventh Label, a film through Ingmar Bergman. Rosner left the assignment because director Bergman decided to retain the exclusive rights to the film.
Britten War’s 1962 Requiem is an example of Requiem’s variety of texts. Poems written through Wilfred Owen, when he was a soldier of World War I, are at the center of Britten’s Requiem, as are Latin texts. The requiems exist with combined texts, however, Britten is the one who initiated the trend that resulted in many works using several texts.
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For two movements, Rosner refers to the Jewish Kadish in Aramaic and a Buddhist song in pali, while two other movements are orchestral, the rest attract more to the choir and soloists by putting texts in other languages, these are by the writers Gottfried Benn (in German), Francois Villon (in French), Walt Whitman (in English) and Dante (in Italian).
When listening to Rosner’s Requiem, it is more productive to focus on music and how it adapts to the language of the text. Living in the extraordinarily obscure texts of the program’s eBook can be fun. Rosner has an exclusive voice and his language is evident in the ten intertwined movements. It is a biological painting that, taken as a whole, superbly illustrates the composer’s musical vocabulary. Listened without reference to the text, you need to remove it several times from your shelf and put it on your player CD.
Previously, I reviewed two Rosner CDs and provided a significant amount of critical data that I don’t need to repeat. See THE URLs below:
To explain why Rosner’s music evokes many modes of expression, I quote program notes written through Walter Simmons, his friend since 1970 and CD manufacturer:
“Rosner’s musical language is based on the harmonic and rhythmic features of Early Baroque and Renaissance polyphonic music. These roots are found, to a greater or lesser degree, in virtually all of their music. In the past, he has added a triadism and exotic modalities, intensified in some works through a fresher harmonic dysonicsonic, enriching this language of sumptuous orchestration and emotional drama from the late romanticism past and yet, despite its fusion of incongruous appearance elements, The maximum of his music is easily accessible, even for ecological listeners. What makes Rosner’s music value a serious consideration, that only an integration of previous styles, is the way he models it.
The Requiem is committed to Simmons, who heard Rosner play some of the first works on the piano. As a musicologist, Simmons identified Rosner Rosner. La s talent for the idea that Simmons attracted to complex works, and decided to dedicate the piece to him.
The painting is composed for 4 vocal soloists, a choir and a giant orchestra. There are triple woods, seven percussionists and seven trumpets, 3 of which are located on the balcony for antiphonal effects. Some of The Requiem’s musical styles did not reappear for long. Later in Rosner’s catalogue, I’m surprised at how well he trained his career at the age of 28.
Painting ranges from the scales of orchestral force to the intimacy of chamber music. Below is the diagram of the deployment of score forces for each movement. After the first move that uses all of Rosner’s resources, the moment movement is marked for tenor and percussion. Followed through an entire orchestra in motion. 3. The fourth movement is for soprano and reduced orchestra.
Instrumentation “Rosner Requiem”
The fifth movement takes its main text as the Buddhist song of the sutra for a long life. The text is supported by an ostinate figure that provides a minimalist character. After rocking the listener into a meditative realm, the music takes a shocking turn toward a gruesome segment that cites the Tibetan Book of the Dead, which depicts the underworld sung in English. The songs return to conclude the movement. During the replay, I passed the short segment in English and left it with Audacity loose editing software.
The sixth movement returns to a madrigal capella reminiscent of Rosner’s taste with roots in the renaissance. The seventh movement uses the medieval organ, at the center of Rosner’s musical voice, for a small orchestra and vocal trio. Most of the orchestra, with limited percussion. , is used with a soprano in the eighth movement. This segment is as close to the romantic taste of the 20th century as Rosner.
The immense forces of the ensemble, along with the antiphonal metal, make one last appearance in the ninth movement. The last orchestral segment is a call executed with reduced forces. If Rosner has a weakness, it’s his inclination to take the forces to the limit. The seven percussionists, for example, produce great sounds, but not a new global sound that you would expect considering all players. Wind musicians would possibly also be too extensive. This exaggerated writing is remote in movements 1 and 9, in the overdrive works of the fifth movement built on the Buddhist making a song of the Sutra.
If someone had played requiem in 1973, despite the expense of gathering the obligatory forces and repeating them correctly, Rosner’s career would have been launched. The 208-page score takes 62 minutes, necessarily would have spanned the entire show with a half of the audience would have stayed at home as likely to when a new painting dominated the show. This is the worst scenario for conducting the orchestra with an enormous amount of cash needed to assemble the paintings and a relief in selling price tickets. Works like this are only performed when composers are a last name. That’s how the Requiem was classified, He must have known that this may never be heard, but he was forced to write it. Only with the religion of his talents can the paintings come out of the folder and eventually be heard.
Simmons, who 25 years later generated long-forgotten American music CDs, if he could get an investment, produced recordings of Rosner’s 5 and 8 symphonies for the Naxos label when Rosner was alive. of a minute’s orchestral work, Responses, Hosanna and Fugue, recorded with a world-class orchestra, as a component of a three-component research on American music through the wonderful Harmonia Mundi label before Toccata CDs with the foundation’s investment.
The director who led this commission, David Amos, has decided on the works to be recorded. Amos, who had given for the first time some of Rosner’s works, now had the possibility to put one on disk. This recording gained enthusiastic reviews and alerted the world to Rosner’s talents. reservations about functionality limitations.
After Rosner’s death, the investment was secured for a major recording assignment, of which Requiem is the sixth CD, with more to come. One of the objectives of this commission is that the recording is a world-class production. The London Philharmonic performs an exceptional task by reading new music at first sight. There were no rehearsals; instead, the orchestra recorded the paintings in several sessions and with limited preparation. The result is this definitive functionality that maintains its air of spontaneity in live microphones.
This is Rosner’s fourth CD with the London Philharmonic released on Toccata. I doubt that these almost impossible-to-reproduce paintings could have been made with impeccable functionality if the LPO had not recorded in the last 3 hours of its music. Nick Palmer recorded a CD of some of Rosner’s paintings during his lifetime, but never had a smart orchestra. In the Requiem, Palmer achieved astonishing effects given the magnitude of the enormous orchestral forces, choirs and soloists and their lack of repetition.
Rosner’s fifth symphony is an uplifting painting that speaks to everyone. This is the access point to notice Rosner’s language. My Impressions of Symphony No. Five of Rosner can be viewed in this URL.
https://hometheaterhifi. com/features/what-we-are-listening-to/what-were-listening-to-vol-7/.
The Fifth Symphony was written just before the Requiem. It is unclear why he went from these life affirmation paintings to the Requiem radically another for his next paintings. Rosner adjusts the taste in adjacent paintings. Perhaps he also deserves to pay attention to his last five years As an orchestra before arriving at the Requiem. They are explained with a taste very similar to the large-scale movements of the Requiem, but with less complexity and textured layers. at the following URL:
https://hometheaterhifi. com/features/what-were-listening-to-vol-2/
The CD (also available for lossless download and transmission) is perfect unless all seven trumpets are active. Anti-phonic effects are an integral component of those sections and only a five-channel recording can play as the CD should be. A central channel would explain the efforts of the seven percussionists. Unfortunately, this recording was only combined into stereo.
Rosner believes that if someone faithful to himself 24 hours a day, 365 days a year, for life, he would not have the bandwidth to pay attention to everything written on a bachelor day given the number of composers. Active professionals.
https://www. phidler. com/rosner/arbd. html
There are so many composers in the world and 99. 6% of this music is in folders. In the case of Rosner’s Requiem, it is a remarkable collaborative account based on religion in his talent and that of a 40-year-old friend who produced the 28-year-old, Rosner produced one of the most important paintings through an American composer and 47 years later we heard it for the first time. Rosner balances his wide variety of styles and creates an exclusive painting for the repertoire. invitations many repetitions. We’re not getting tired of Rosner’s Requiem.
Various artists “Modern Masters III”
Answers from Arnold Rosner, Hosanna and Rope and Harp Escape – Norman Dello Joio’s Meditations on the Ecclesiastes – Psalm and Alan Hovhaness’ Escape for String Orchestra
The Philharmonia Orchestra with David Amos – Director, Tim McDonald – Producer, Mike Ross – Engineer, Recorded in November 1990, Harmonia Mundi – HMU 906012 reissued Kleos Classics or abandoned. Download loss in Qobuz.
“I’ve never heard of Arnold Rosner and I keep in mind that I have a specific interest in american fashion music. From the first bars of Responses, Hosanna and Fugue, I became addicted not only to the piece, but also to the composer, to me. , a lead vocals’, wrote vital critic Steve Schwartz when he listened to this CD in 1991. It wasn’t until Toccata’s new recording of Rosner’s orchestral music that involved a first-class orchestra.
In the early 1990s, record corporations released a wealth of American music that won a first audition or had been on an interrupted album for a long time with acceptable functionality and corresponding sound at best. CDs charge twice as much as vinyl records, but listeners bought them as fast as they got here. The old labels were making money again. This did not last long because the number of outputs exceeded the amount of music that can be absorbed.
This is a component of a set of 3 CDs by lesser-known American composers released in 1991. The concept came here from director David Amos, who organized the subscription of the assignment through the International Fund of Musicians. Amos had directed Rosner in concert and felt his music was best for the task.
Orchestrated for harp, string orchestra and string quartet, the same organization as the celebrated Vaughan Williams Tallis Fantasia, it took courage to take on such outstanding paintings while saying something different.
“Gentleness floods those pages with a wonderful force of candle. The lines of the solo effortlessly in a bulk of serious texture and advance the plot in a rapsodic way,” rob Barnett writes. “A quick dance, plays the rhythms and animated syncpas of the New World as opposed to Old World modalities,” writes Steve Schwartz on the movements of the moment, and the 3rd movement” does not leave the impression of a counterpoint education as much as the song is deeply felt. “
Total recording makes smart music in the COVID era. There is no room to talk about the other works yet to point out that Dello Joio won the Pulitzer. La Good News Award is that the Amos Modern Masters series is back to download without loss in the Qobuz Store. It emits in maximum sites with loss but 90% wonder of the Rosner, with 20 portions of strings active at the same time , is lost. You can download all the works from the 3 CD series or just an individual work Now is the time to download before it is interrupted again.
Erich Kunzel and Telarc “Symphonic Star Trek” via Cincinnati Pops, 20-bit CD
From one of my favorite orchestras is the music of one of my favorite movie genres. Yes, Star Wars has John Williams, but the Trekkies have Jerry Goldsmith, Alexander Courage, James Horner and others. Apart from the impressive sound effects, the music is familiar in a nostalgic sense, but new because the recording brings a vast soundscape to the themes of television and the bands have a new sound quality that resonates in the orchestra room. turns out to have made one last movie with Kirk and the gang.
The sound effects are recreated for this recording and come with various spacecraft flybys, an alien probe, Tribble problems, birds of prey undocking, a transporter, a Nexus energy belt, and a stopover at the Borg. As Telarc recorded this digitally, no compression used, and there is a precaution on the label to make sure your reading degrees are not too high or the apparatus and ears can be sprayed. It’s over 72 minutes of fun, even if it’s not a Trekkie. time and prosper now!
George Winston “Linus and Lucy – The Music of Vince Guaraldi” – piano, Dancing Cat Records, CD
And, while we’re on the subject of TV music, something a little more realistic with Peanuts Gang. Winston plays music close to Guaraldi’s vision, but with a little more play. The sound of the piano is impeccable and the score is jazzy, sentimental and very relaxing to pay attention to. “Cast Your Fate to the Wind” is probably my favorite piece, but music in general makes me think about watching Thanksgiving, Halloween and Christmas specials when I was a kid. Music is eternal and can be enjoyed throughout the family. The recording is dynamic and the microphone sounds as if it were near the soundboard, with strangely deep bass notes. This makes background music perfect for attracting guests. Don’t be stupid, get this record!
Art Pepper “Essential Standards, Original Jazz Classics” on 31/12/2008
Art Pepper is one of my favorite classical jazz musicians. He was a tall saxophonist from the 1940s to the early 1980s, who died in 1982 at the age of 56, too soon. He had a massive drug problem, like many others. artists, and that greatly affected his career. This album highlights some of his most productive tracks from his many albums, and it’s great. It can only be had on CD and streaming, not vinyl. But it’s actually bigger than nothing. He also played the clarinet, as illustrated in this album. The musicians who accompany him are also amazing.
Tchaikovsky ‘Anthems of the Night’s Vigil, Opus 6-9’ Best Buy Classic, released on 4/3/2012.
Tchaikovsky is probably the most productive known for his orchestral works. This album shows his genius of choral music. It is charming and very relaxing, at a time when you can use anything relaxing. Superbly recorded with a perfect sound stage. CD available from Presto Classical for $15.
Sergio Azzolini / Kammerakademie Potsdam “Concerts for bassists: Villa-Lobos, Hindemith, Jolivet, Gubaidulina, Capriccio” CD
Usually, when I search for new classical music to upload to the library, I look for quick jobs. With the bassoon practice loading time I have lately, I bought several reference CDs to help me stay informed about new parts.
Recently, however, I concentrated on one particular performer: Italian bassoonist Sergio Azzolini. I first heard him play in a recording of the 1995 International Double Cane Society Conference, where he and Stefano Canuti conducted six melodies by Rossini’s Il Barbieri di Siviglia. Soon after, he released a feature of the Concerto for bassoon and orchestra (by him), recently discovered by Rossini.
As I recently made the expansion of my repertoire a priority, I sought to hear his interpretation of more fashionable paintings such as Sofia Gubaidulina and Fagot’s Bassoon Concerto and Strings. This is a genuine buzz. It is through the greatest bassoonists, myself included, to be the most complicated bassoon paintings in literature. I touched a lot of bassoon pieces, it’s definitely the hardest. When I first introduced him in 1985 through a member of the New England Conservatory, my alma mater described him as “relentless. “That’s an express description.
The CD also includes a performance of Paul Hindemith’s Concerto for Trumpet, Bassoon and Strings. You’d think they were a couple, but if Copeland could combine a trumpet and an English horn in his beautiful Quiet City paintings, then it would make more sense.
It goes without saying that Azzolini shines in each and every song on this album, his tone is ideal for music from all eras, his strategy at the Jolivet is simply incredible. The only functionality of this piece that is just as clever is the live functionality of Sophie Dervaux (Principal Bassoonist of the Vienna Philharmonic Orchestra) on YouTube, where she plays this ridiculously complicated concert without glitches or memory.
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If I’m as inspired by this CD as I am, there are also recordings of Azzolini betting Vivaldi’s concerts on Baroque bassoon. It’s a desirable interpretation of those pieces that I’m sure many listeners will appreciate. For now, however, I think I will, discover the Jolivet in search of something to aspire to.
For this month’s delivery, I chose to provide you with audiovisual samples of what I’m hearing.
Kaj Kolah Kahn via Pink Martini: https://www. youtube. com/watch?v=ITy1xkPtS_4
Maleguea via Pink Martini: https://www. youtube. com/watch?v=j0x9lJ8iS7U
Johann Strauss Sr. – Radetzky March / Vienna Philharmonic: https://www. youtube. com/watch?v=pYYTdtRrg8M
John Philip Sousa – Stars & Stripes Forever / U. S. Marine Band: https://www. youtube. com/watch?v=a-7XWhyvIpE
Fanfare for the Common Man – Aaron Copland / Louis Lane
One night in Rio – Louis Austin: https://www. youtube. com/watch?v=8cKkBcmm2cE
I did some blues this month . . .
Thorbjorn Risager
I discovered this Danish Blues / Rocker and his band through a track from a compilation CD released through DALI speakers. A little more research online enlightened me with his discography and his 10th album, Come On In, released earlier this year. It’s impeccably recorded, has an incredible beat, and the boy and his band have a ton of character that runs generously throughout this 10-track set. Blues is one of my favorite musical genres, but it can also become repetitive without a problem with many draperies and similar acts. That’s why when a more exclusive edition of the 12-bar blues hits my ear, it catches my eye. The name song gets you going with a funky driving beat and eerie, resonant tone. The tracks “Two Lovers” and “On and On” have a noir feel, a little boogie frenzy on “Over the Hill” and even a bit of a tropical island vibe on “Nobody But the Moon. ” Risager’s voice goes from a deep, resonant growl to a more ragged tenor, they’re still packed with soul and personality. This has been in my formula multiple times this month and I can’t see it. which will replace soon.
Joe Bonamassa “Redemption” Provogue-Mascot Music, 2018, 24/44 Broadcast Qobuz.
There’s no denying Joe Bonamassa’s proficiency with an ax. I saw him live and the guy is incredibly talented as a player and he’s a wonderful live showguy. It is also a blues industry on its own with 15 studio albums, many of which have been released on its own label, with even more live albums, various concert videos, and collaboration albums with singer Beth Hart. effort) is another Blues album that won me over with its other sound and content from the norm. It also turns out that with this album, Bonamassa increasingly becomes an experienced editor and lyricist in his field. There is definitely a bit of spiritual searching on several of those tracks like “Self-Inflicted Wounds”, “Pick Up the Pieces” and “Stronger Now in Broken Places”, and in those days many of us have a little more time for the introspection. . I mean, I like the track “The Ghost of Macon Jones”, a thick and mysterious kind of ghost tale with a guest appearance through Jamey Johnson. And of course, Bonamassa’s play is exceptional on the album, featuring a wide diversity of styles. Redemption is a deeply delicious blues cocktail to enjoy alone or with friends.
Roy Buchanan “Sweet Dreams: The Anthology” PolyGram Records, 1992, CD.
You will have those passionately arguing over who was the most productive player on a Fender Telecaster, Roy Buchanan or Danny Gatton. To say that both men were clever with the guitar would be like saying that Glenn Gould knew how to “tickle ivories. ” The grossest understatement. Both men were respected among their peers and both had troubled lives and ultimately tragic endings. I’m not the type to make this point, I actually like players. However, Buchanan had an additional appeal to me, because he was so incongruous. A soft-spoken character, with the air of a grandfather, who perhaps simply draws notes from a slightly plausible guitar. Early in his career, as a member of Ronnie Hawkins’s band, he taught a very young Robbie Robertson. Later, Jeff Beck was influenced through him and dedicated a song from his album Blow via Blow to Buchanan, the classic “Because we ended up in love. ” Rumors persist that the Rolling Stones sought Buchanan to join them after the death of founding guitarist Brian Jones. He was a strange character who was close to stardom, but never made it to the final stage.
Sweet Dreams: The Anthology is a wonderful advent of Roy Buchanan and covers much of his record history with Polygram (later it would move to Atlantic and, despite everything, Alligator Records). There’s a bit of everything in this compilation, from the first tracks featuring Charlie Daniels on vocals, the celebrated “The Messiah Will Come Again” and “Sweet Dreams” which gave the compilation its name, to some sizzling acoustic blues songs. . Cover of Hendrix and Booker T and even an issue of “Turn To Stone” via Joe Walsh. The most notable songs to me beyond “Messiah” are the live songs taken from Buchanan’s 1975 album, Livestock. An incredible edit of “Down through the River” via Neil Young, “I’m a Ram” via Al Green, and an incendiary rendition of “I’m Evil” that can lift the hair on the back of your neck with its maniac guitar. alone. The ensemble ends with a new 12-minute acoustic solo piece titled “Dual Soliloquy” which is a smooth, melodic and tasteful improvisation to cover the last piece on the tape in a recording session. If you love guitar, blues, weird vintage rock, or all of the above, you deserve to have this set in your collection and revel in the troublesome genius of this absent Telecaster master.