Romance of romance: new recordings of classical music
Let’s talk about modern music. What is considered modern at all: everything that is not called “classical”, or works by modern composers written according to strict academic standards, or maybe just everything that still arouses any interest? In any case, sometimes we can see how yesterday’s avant-gardists become live classics, and pop hits migrate to the repertoire of academic groups. And the most seemingly famous figures of the century before last open up new faces.
Arctic Philharmonic “Philip Glass: a Descent into the Maelstrom”the Devil is in the details, as the Germans say. Philip glass’s music for the theatrical production of PoE’s short story “the Fall to Maelstrom” was written in 1986. The author himself played it with his band, and now the Norwegian Arctic band has performed this material in their own way and as a full-fledged musical composition.Glass, in General, is a “fractal” composer: after listening to one piece, you will recognize any other one by the first bar. Music-savvy and minimalism-hating people say about the composer that he just rewrote the harmony textbook. This, of course, is great, but what prevented any of his critics from doing the same and becoming fashionable, avant-garde, venerable and, finally, just a modern classic? The question is rhetorical.Here, in principle, the language of classical glass is recognized immediately. A whirlpool? Well, Yes, a glass storm in a glass of water that won’t come out. Motivators that run after each other in a circle, and this sharpens the perception of nuances. What a combination of timbres! For example, a soprano with a cello is a completely chimerical sound (“Tranquility”). Or in “the Naming” – a bone-piercing soprano floating on the cold waves of strings. In “Maelstrom”, the strings represent the buzzing of a swarm of unknown insects, and so on. In General, no matter how many entries you have, the glass may be, and this does not hurt.Apple Music
Isata Kanneh-Mason ” Romance. The Piano Music of Clara Schumann”Clara Josephine wick, the future-Schumann, the wife of the great composer, was young and daring in her adolescence. She wrote and played – just like modern pop stars. And this year, the music world celebrated 200 years since her birthday.The young and audacious British pianist Aisata kanneh-Mason is also the owner of a famous surname. No, we are not talking about Nick Mason from Pink Floyd, but about Aisata’s own brother-cellist Sheku kann-Mason.For the bicentennial of Clara Schumann, many musicians began to record albums with her music, but these works are usually paired with the more famous works of Robert Schumann. Aisata took a risk and made an album almost exclusively from the works of Klara herself (with the exception of two songs in the transcription of Klara again).The album opens with an a-minor piano Concerto — a wonderful mix of light pathos, heroism and romance. With the crystal-clear sound of Aisata-the most it. Romances and piano Sonata in g minor are more sad, thoughtful and romantic. With all the technical bells and whistles-and Klara was a serious musician with ambitions-it is surprisingly easy to listen, and in General, such pure healthy emotions are now rarely found. Romance!Apple Music, Yandex.Music, Deezer
Saint John String Quartet “the Canadian Hits: Unplugged”of course, I promise to write about the crossover projects. Bach with drums and bass or a pop song arranged for a Symphony orchestra. There is nothing wrong with the idea itself: Bach might have written for bass and drums himself, but any composition can play a beautiful melody (and classics like Tchaikovsky or Stravinsky did not shy away from including folk or pop melodies in their serious works).The problem is that it usually turns out neither. And then I finally realized what distinguishes a crossover musician from a normal classic and pop singer. Why, for the most part, crossover is a thing unworthy of the ears of a normal music lover. The strokes! If he is a violinist, then he saws loudly, so that the listener with uncompressed ears can understand that it is the violin that is howling. If a pianist, then a thunderous piano or, on the contrary, a glass-soft background, so that it is also clear: here is a complex passage, and here is music for relaxation.The canadian string Quartet, the Saint John String Quartet the strokes — real. And they actually play instrumental versions of the hit songs of their homeland as they would play” real ” composer’s music. Yes, and chose what is close. “Take This Waltz” – it is also in the original by Leonard Cohen as a waltz. Or “Miss Chatelaine” – and have k. d.lang this zakos under salon starters century.The Quartet’s” Black Velvet ” by Allana miles is more reminiscent of minimalism, and here we find the problem of remaking pop hits: a recurring one-in-one refrain. If the vocalist changes his voice, intonations, then here the violin soloist just stupidly repeats the same figure. That is, such songs would be good to combine several pieces in one Suite, because without vocals and lyrics, the bare material of the accompaniment is just pale. But that is what it is — just good music. And if this is considered as a crossover — then it is simply the highest class.