Started by Todd, April 06, 2007, 07:22:52 AM
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Quote from: Brian on February 13, 2023, 10:40:21 AMIn other words, it's not so different from Earl Wild's Piano Sonata 2000 and its finale, the "Toccata a la Ricky Martin."
Quote from: Todd on March 01, 2023, 04:12:43 AMI thought I should sample an all-Lyadov recording. As it happens, they are rare, especially so when it comes to piano....I shall make it a point to try more Lyadov, as well.
Quote from: Todd on March 12, 2023, 06:23:21 AMI won't lie, this recording of Vyacheslav Artyomov's Requiem caught my eye because of the nifty cover image. Marketing works. I perused the Wikipedia article for the composer, and the things that stuck out are his background in physics and the fact that he was blacklisted. That latter fact may help explain why his Requiem, penned in the 80s, is dedicated To the Martyrs of Long-suffering Russia. Maybe not. Whatever the case, this modern work seemed to demand attention.An organ blast followed quickly by choral outpouring starts things off in an intense, dark, at times eerie, and almost constantly dissonant fashion. These traits never completely abate, nor do what sound to me like Eastern Orthodox musical traditions, but I could be wrong on that one. What seems even more evident is the influence of Gubaidulina and Ligeti on his style. Indeed, some of the passages sound so much like Ligeti, that it triggered a (false) sense of musical déjà vu. I mean this as the highest possible compliment. The blending of soloists, chorus, orchestra, and organ is so seamless, so smooth, with such unerringly well executed transitions, that the massive work just flows along, one potent idea to the next. Some of the compositional devices might sound trite on their own and in a different context, but not here. And then there are some unique things. The disorienting undulating sound of the Offertorium followed by the purposely wobbly (and maybe electronically distorted) singing in the Sanctus bring something new to the genre, at least in my listening experience. The two-part Libera Me has a massive, rumbling organ underpinning the chorus in the first half, and a great orchestral lament to open the second half that really hits the spot. The work concludes with an In Paradisum that starts with a Messiaenesque blob of birdcall accentuated by obtrusively closely recorded percussion before swelling into a grandiose, almost indistinct wall of sound with chorus, before returning to a lighter, bird call infused cloud of ethereal goodness. Yeah, just yeah.No less than Dimitri Kitaenko conducts the work, and he does a rather fine job, as do the Moscow Philharmonic Symphony Orchestra, the soloists, and the two choirs. Excellent sound rounds out a fine recording. I will have to explore more Artyomov, and based on this and the Kastalsky Requiem, I may have to explore more liturgical music in the Russian and Eastern Orthodox traditions.
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