- Kurt-Owen Richards (Bass)
- Kurt-Owen Richards (Chimes)
- Elizabeth Weinfield (Viola)
- Ryland Angel (Countertenor)
- Ruth Cunningham (Voice)
- Daniel Davis (Electric Organ)
- Jacqueline Horner (Voice)
- Lawrence Lipnik (Countertenor)
- Lawrence Lipnik (Recorder)
Notes & Reviews:
Requiem is the 1st recording by composer Gregory Spears. The release features the title composition scored for 6 voices, baroque viola, harp, troubadour harp, recorders, and electric organ. It premiered in June, 2010 as an opera/dance collaboration with choreographer Christopher Williams. The text of Spears's Requiem transitions freely from traditional Latin requiem to Breton and Middle French, and allows for a multi-referential and conceptually challenging aural and visual experience. Although the music is scored for (mostly) renaissance/baroque instruments and is performed by an ensemble of early music specialists, Requiem's harmony and form are unattached to a specific musical era.Notes & Reviews:
Recording information: Corpus Christie Church, New York, NY (08/04/2010/08/06/2010).
In the second cut, Requiem Aeternam, the harmonic rhythm goes to human pacing with deceptively dense contrapuntal writing, sounding vaguely like a Renaissance mash up composition. This could also pass for a high-end Renaissance period movie score (yet another good thing) Thereís even more creativity in the harmony and the weird overhangs and stretto entries of the counterpoint. It returns to the snail pace harmonic rhythm opening.
The third cut is the first of the secular texts sections, which for me lack the gravitas of the Latin sections (no not Puerto Rico). The performances in the secular sections are seemingly more a capella and because of the singerís exposure, they lack pitch consistency. Whether this was a singer, budget or time issue, a lot of the harmonic writing is forever switching major/minor thirds and all needs to be nailed down. Where do you tune that third of the chord when voice timbre is such a factor always? It would take an uber-trained group to navigate this difficult music. (By the way that high soprano singing those high Fs is stunning. Her non-vibrato to a very controlled accelerando vibrato gives me goose bumps).
The fourth track, Agnus Dei, starts with an unintended quote from the slow movement of Mahlerís 4th. Its Ligeti-ish in its focus and intensityóthroughout this CD there is no cheese or sentimentality in the writing at all. The electronic organ as with the viola has a mysterious, decapitated quality (a headless ghost floating through the music). This, as well as the rest of the instrumental orchestration, at once struck me as very elegant and original. Again, this movement could have used a better vocal performance.
By the fifth and sixth track, I was hoping for more tempo contrast, even though it is again quite gorgeous with itsí fragments of history floating by. Thereís great canonic writing, cool ornaments and a ĺ dance section, then a single note repeated chime is used to great effect. A lot of the movements seem to end with a longer harmonic rhythm and repeated notes at long intervals. Again: sorry for the crankiness, slight performance issues.
Finally, the 7th track keeps that high F comingóI could just loop that on my sampler for days. The ending is another repeating pedal with deceptively complicated middle period Stravinsky harmonies.
In conclusion, great piece, itís going to get lots of performances. The composer is a real new voice and canít wait for more CDs. My only nagging complaint, besides the one I twice repeated, was I felt the tempos could of varied more to articulate each section better. Again this might have been a singer/flexibility issue but given the accessibility of the music, Iím sure a new recording is in the near future (especially from those dope early music groups in Europe).
Submitted on 12/28/11 by Mike Maguire
Harrison Birtwistle: The Triumph of Time / John Harle, Pierre Boulez, Andrew Davis
Beckoning: New Music for Cello - works by Lera Auerbach, Jay Greenberg, Serra Hwang & Huang Ruo / Anthony Arnone, cello
Alessandro Stradella: Ester, oratorio / Silvia Piccollo, Elisz Franzetti, Vicky Norrington, Riccardo Ristori, Matteo Armanino
Giovanni Simone Mayr: Amor Ingegnoso / Stefania Ferrari, Livio Scarpellini, Filippo Morace, Gabriella Locatelli Serio, Gabriele Sagona, Elena Rossi, Pierangelo Pelucchi
Carl Reinthaler: Das Käthchen von Heilbronn (Kate of Heilbronn) / Mulder, Carlucci, Papandreou, Schone
Franz Xaver Dussek: 4 Symphonies / Helsinki Baroque Orchestra
Open House: Songs Cycles by William Bolcom & Robert Beaser / Paul Sperry, tenor
Adolphus Hailstork: An American Port of Call / Kevin Deas, baritone - Falletta
Marcello: Concertos a cinque, Op.1/1-12; 5 Sinfonias / Franco Fantini, Tino Bacchetta, Genunzio Ghetti
Works DetailsSpears, Gregroy : Requiem
- Performers: Ryland Angel (Countertenor); Ruth Cunningham (Voice); Daniel Davis (Electric Organ); Jacqueline Horner (Voice); Lawrence Lipnik (Countertenor); Lawrence Lipnik (Recorder); Kurt-Owen Richards (Bass); Kurt-Owen Richards (Chimes); Elizabeth Weinfield (Viola)
- Conductor: Gregroy Spears
- Notes: Corpus Christi Church, New York, NY (08/04/2010/08/06/2010)
- Running Time: 35 min. 54 sec.
- Period Time: Contemporary
- Form: Choral