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2020-09-12 03:00:00
Biber: Masses and Chamber Music - Segarra - Lamon - Savall - Huggett - McCreesh - Wallfisch
Heinrich Ignaz Franz Biber Missa Salisburguensis Motet Plaudite Tympana Escolanía de Montserrat Tolzer Knabenchor Collegium Aureum Irineu Segarra Recorded in Salzburg 1974 Deutsche Harmona Mundi digital download, cover Violin Sonatas Nos. 2, 3, 5 and 7 (1681) Nisi Dominus Passacaglia for solo violin Monica Huggett Violin Thomas Guthrie bass Sonnerie ASV 1999 digital download, cover Biber Missa Alleluja Johann Heinrich Schmelzer Vesperae SollennesSonata da Chiesa - Sonata XIIplus works by Palestrina and Froberger Concerto PalatinoGradus Ad ParnasumKonrad Junghanel DHM 1999flac, cue, log, scansBiber Sonatas Cuam Aulis tam Aris Nos. 2, 3, 5, 9 and 11 George Muffat Sonatas 2 and 5 from Armonico Tributo Passacaglia in G minor Freiburger Barockorchestre Consort DHM 1994flac, cue, log, scans Missa Christi ResurgentisSonata a 6 - Fanfares I and IVSonates 1, […]
2016-04-07 17:34:00
[…] in their sessions. Past posts On An Overgrown Path have featured Neu Records' surround recording of Ramon Humet's music made with the London Sinfonietta and discussed the philosophy behind the immersive sound, while another post highlighted their first release of the music of the Catalan composer Bernat Vivancos (b. 1973). Now comes the premiere recording of Bernat Vivancos' Requiem made with the Latvian Radio Choir conducted by Sigvards Kļava. Although Vivancos trained at the celebrated Escolania de Montserrat which is one of the oldest choral schools in the world, his Requiem does not adhere to the liturgy of the Catholic Mass. Instead, to quote the composer: "The idea is that this prayer should be new, without linking it to any previously established canon. It is intended to be a luminous meditation on transcendence, in which a selection of open, plural texts and reflections responds to a non-confessional vision of the […]
2013-12-19 11:08:00
New music from the point of tangency
[…] mix, in the weather fronts where styles collide, and at the international boundaries where cultures fuse. Not at the dead - in more ways than one - centre where risk and tension are bleached out in the name of accessibility. At the point of tangency you can see things better, as in the new CD of choral music by the Catalan composer Bernat Vivancos. Born in Barcelona in 1973, Vivancos trained at the world famous Escolania de Montserrat which is one of the oldest choral schools in the world. His studies then took a dramatically different direction at the Paris Conservatoire where his teachers included the avant-gardistes Guy Reibel and Alain Louvier. Oslo was Vivancos' next port of call where he worked with Lasse Thorensen, whose influences range from spectralism, through Harry Partch’s 'just intonation' tonal system to musique concrete and the sonology schhol of electroacoustic music. When I explain […]
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