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On SaleTchaikovsky: Symphony No. 5 & Swan Lake Suite / Lindberg, Arctic Philharmonic
SACD$21.99$15.99BIS
Sep 24, 2013BIS-2018 -
On SaleBernstein: Symphonies Nos. 1 & 2 / Lindberg, Arctic Philharmonic
SACD$21.99$15.99BIS
Mar 06, 2020BIS-2298 -
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On SaleMazzoli: Dark with Excessive Bright / Herresthal, Gaffigan, Arctic & Bergen Philharmonic
SACD$21.99$15.99BIS
Mar 03, 2023BIS-2572 -
Olsen: Symphony No. 1 - Trombone Concerto - Asgaardsreien
$21.99SACDBIS
May 01, 2011BIS-SACD-1968 -
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Tchaikovsky: Symphonies Nos. 4, 5 & 6
$34.99SACDBIS
Dec 09, 2016BIS-2178 -
GLASS: A DESCENT INTO THE MAELSTROM
$20.17CDORANGE MOUNTAIN
Jul 12, 2019ORMO140.2 -
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On SaleAtmosphériques, Vol. 1 / Bjarnason, Iceland Symphony
$22.99$11.49Sono Luminus
Apr 28, 2023DSL-92267
Tchaikovsky: Symphony No. 5 & Swan Lake Suite / Lindberg, Arctic Philharmonic
With his Arctic Philharmonic Orchestra, Lindberg records Tchaikovsky’s Fifth Symphony—one of the composer’s best-loved works.
Bernstein: Symphonies Nos. 1 & 2 / Lindberg, Arctic Philharmonic
At the age of 21, Leonard Bernstein wrote what he described as a ‘Hebrew song’ using a text from the Lamentations of Jeremiah. Three years later the song became the final movement of his Symphony No. 1 and in January 1944 Bernstein himself conducted the première of the work. What is being lamented is the destruction of Jerusalem in 586 BC, but according to the composer, he primarily wanted to convey the text’s ‘emotional quality’. The first movement thus aims to parallel in feeling the intensity of the prophet’s pleas while the scherzo gives a general sense of the destruction and chaos. Being a setting of the biblical text, the third movement is naturally more literary: the cry of Jeremiah, as he mourns his beloved Jerusalem. During the next few years, Bernstein’s career as a conductor took flight, while the musical On the Town made his name on Broadway. Towards the end of the 1940s he returned to the symphonic genre, however – once more with an extra-musical inspiration. W.H. Auden’s poem The Age of Anxiety is set during the recently concluded war, and falls – like the symphony – into six sections during which four characters express their anxieties, hopes and the quest for meaning and identity. Bernstein chose to portray all four characters via a single instrument, the piano, but he did not want to label the work a piano concerto. The instrument does however come to the fore at various points and in one of the final sections Bernstein supplies what is arguably the most exuberant and rhythmically dazzling display of piano writing in the symphonic literature. For this Christian Lindberg and the Arctic Philharmonic have enlisted the aid of Roland Pöntinen, while Anna Larsson is the soloist in Jeremiah.
Mazzoli: Dark with Excessive Bright / Herresthal, Gaffigan, Arctic & Bergen Philharmonic
Named ‘2022 Composer of the Year’ by Musical America, Missy Mazzoli inhabits an exquisite and mysterious sound-world in which indie-rock sensibilities meet American minimalism, European modernism and classical traditions. The first woman ever to receive a commission from the Metropolitan Opera, she has also composed for prominent soloists, ensembles and orchestras around the world. Through her music, she reaches to the roots of tradition, inhabits and renovates older forms while using every resource at her command. Mazzoli, who says that she likes “to tell stories”, always imagines actors, singers and dancers grappling with a situation, even when she composes instrumental works. The album is bookended by two versions of the same work: loosely based on baroque idioms the violin concerto Dark with Excessive Bright is first heard with string orchestra accompaniment and then in a chamber version. The soloist is in both cases Peter Herresthal, who also performs Vespers for Violin, a piece for amplified violin and electronics using sampled organs, voices and strings, drenched in delay and distortion. Three orchestral works complete the programme: Sinfonia (for Orbiting Spheres), These Worlds in Us and Orpheus Undone in performances by the Arctic Philharmonic under Tim Weiss.
REVIEWS:
When Missy Mazzoli was just 10 years old, growing up in rural Pennsylvania, she confidently declared she was a composer, although she hadn’t written a single note. Her family thought it was a phase she would get through. Now 42, Mazzoli is among today’s busiest and most respected composers. She’s best known for her operas, such as the career-boosting Breaking the Waves, but a new album, titled Dark with Excessive Bright, is the first to showcase the young composer’s purely symphonic music.
[The] titular Dark with Excessive Bright [is] a lyrical violin concerto inspired by a very old double bass which sat in an Italian monastery for centuries and whose cracks were patched with pages from the Good Friday liturgy.
The concerto riffs on baroque formulas while recycling motifs in fresh disguises. Like a photographer, Mazzoli captures moments rich in texture and charged with expression. They are hard to describe, but you can see them in your ear. For example, after the orchestra slides up to a cadence, low strings pluck the beat, high strings twinkle with glitter, and in the middle, a melody wanders a solitary path. (As a fascinating bonus, the album includes a reduced version of the piece for solo violin and string quintet.)
...while this album is purely symphonic, drama abounds in the music. Mazzoli dedicates the piece These Worlds in Us to her father, a Vietnam vet. Sometimes the music swirls downward on sliding string figures while other passages prove that Mazzoli knows how to make an orchestra roar like a jet engine.
Coming of age in a DIY environment, and encouraged by outfits like the Bang on a Can collective of composer-performers, Mazzoli is at home using rock instruments and electronics in her music. On Vespers for Violin, played with ardor and agility by Peter Herresthal, Mazzoli sampled old organs, strings and voices, and waterlogged them in distortion.
Mazzoli likes to think of herself as primarily an opera composer. But with instrumental music as expressive and rigorously built as this – not to mention the dynamic performances here by the Bergen and Arctic Philharmonic Orchestras – we kindly ask that she not forget the command she holds over a symphony orchestra.
-- NPR Music
Olsen: Symphony No. 1 - Trombone Concerto - Asgaardsreien
Tchaikovsky: Symphonies Nos. 4, 5 & 6
GLASS: A DESCENT INTO THE MAELSTROM
Atmosphériques, Vol. 1 / Bjarnason, Iceland Symphony
Note: this double-disc release contains both a CD and a Blu-ray Audio disc. The former will play on any CD player, and the latter will only play on devices with Blu-ray read capability.
Daniel Bjarnason writes: "at the risk of getting canceled by my musician colleagues, I’m going to divulge a dark truth about classical music: it’s never as captivating or molecule-altering for anyone as it is for us on stage. Which is why I often find classical records, especially those of the orchestral persuasion, so underwhelming. So not … immediate. Which is why I am approaching zealot status in my admiration for Sono Luminus and the way in which it submerges listeners within reach of the Atlantis that is the on-stage experience. Which is why, save for live performance, the often inimitable new-music originating in, or in proximity to, Iceland (homeland to an unreasonable percentage of the composers living rent-free in my headphones for more than a decade) has found its most ardent advocate and most clarion amplifier in Winchester, Virginia. Certainly its exceptional national orchestra has. Despite a bewildering insistence by journalists to characterize music written by those with Icelandic surnames as a monolith, the entries on this tracklist are as singular as hand blown glass.
"The inclusion of American sonic clairvoyant Missy Mazzoli is a helpful geographic foil here, but there is one element fusing all of these inventions: Your person is about to feel minuscule or massive, by contrast to – or motivated by – these sounds. Anna Thorvaldsdottir’s music is often intimidatingly cyclopean, and Catamorphosis at times mimics the cosmic indifference of Lovecraftian deities, but it simultaneously introduces an iridescent hope I have not encountered before in her music. Mazzoli’s Sinfonia (for Orbiting Spheres) catapults us from one end of a pulsing solar system to the other while Daníel Bjarnason’s From Space I Saw Earth improbably stretches perspective from earth to the moon and back, seeming somehow both terrestrial and paranormal within a single phrase. Maria Huld Markan Sigfúsdóttir's Clockworking bridges a similar expanse, coexisting within the measurable realm of time-keeping … and the immeasurable realm of what occurs as the seconds tick by. Is Bára Gísladóttir's ÓS gasping in air, or desperately exhaling? Whatever your observation, and as with every waypoint on this illusory itinerary, the answer is likely: both."
REVIEWS:
The range of sonorities they [the Iceland Symphony Orchestra] bring out in Gísladóttir’s ÓS is viscerally gripping – rushing strings, apocalyptically deep wind notes and percussion fusillades…Mazzoli’s engaging Sinfonia and Sigfúsdóttir’s Clockworking provide textural, stylistic and expressive contrast. Sono Luminus’s sound is top-notch. Enjoy!
-- Gramophone
I listened to these two discs one after another: the first is a normal CD, which I listened to to familiarize myself with this music. This is all definitely in my wheelhouse: Anna Thorvaldsdottir’s CATAMORPHOSIS, from 2020; Missy Mazzoli’s Sinfonia (for Orbiting Spheres), from 2014; Daníel Bjarnason’s From Space I Saw Earth, from 2019; Maria Sigfúsdóttir’s Clockworking for Orchestra, from 2020; and Bára Gísladóttir’s ÓS, written for the Iceland Centenary in 2018. It’s beautifully played by the Iceland Symphony Orchestra, directed by Daniel Bjarnason.
Only a few months ago I reviewed Missy Mazzoli’s latest album, Dark With Excessive Bright, which also includes her Sinfonia (for Orbiting Spheres), with Tim Weiss conducting the Arctic Philharmonic. It seems like high-latitude orchestras are best situated to play this piece about the Music of the Spheres, situated as they are far from the noise of the world’s cities, and closer to the light show of the Aurora Borealis. I prefer the performance of the Iceland players by the narrowest of margins in this important work, helped as it is by the sound engineering of Sono Luminus.
And it’s the audio that brings us to the second disc: a Pure Audio Blu-ray disc with the identical repertoire, totalling just under an hour, in remarkable Surround Sound. As I’ve mentioned a few times in my reviews, I don’t spend a lot of time worrying about the audiophile component of recording, but listening to this Blu-ray knocked me for a loop. This will surely become a demonstration disc for high-end Surround Sound systems.
Iceland is a small country, but its music, both classical and popular, has the huge scope and universal appeal of the Sagas. This is a distinguished addition to a long and distinguished artistic tradition.
-- Music for Several Instruments
Boasting a formidable ensemble of ninety full-time musicians, Iceland's national orchestra is the perfect conduit for these composers's bold imaginings. Atmospheriques is an apt title given how much its oft-ethereal material imposes itself. Melody is downplayed in favour of mood, texture, and presence, the latter qualities architecturally established in the form of grandiose blocks of sound. The music at times plays like the slow, heaving movements of an enormous geological mass.
All five works are immersive and dynamic creations, yet there are critical differences between them, something Bjarnason emphasizes in asserting that each of the five is “as singular as hand-blown glass.”
That said, one description applied to Thorvaldsdottir's music, that it's “an ecosystem of sounds, where materials continuously grow in and out of each other,” is one that could as easily be applied to some of the other works. At twenty-one minutes, her CATAMORPHOSIS, first up on the hour-long release, is epic on purely temporal grounds, let alone structural. Such durational expanse grants her a huge canvas upon which to paint, which she does using flurries of glissando-swooping strings, rumbling sonorities, and orchestral micro-chatter. The music convulses and broods, but there are also lyrical episodes that allow for peaceful contemplation. As the piece advances towards its conclusion, it begins to suggest the disturbed sleep of some soon-to-be-awakened behemoth, with all the imminent activity that entails. CATAMORPHOSIS flows seamlessly into Mazzoli's Sinfonia (for Orbiting Spheres), whose shimmering strings and muted horns exude a starry-eyed quality that positions it far from the geological ruptures that ground Thorvaldsdottir's piece. Mystery permeates Sinfonia (for Orbiting Spheres) too, but in this case it's the kind of mystery one associates with ineffable extraterrestrial expanses. The ethereal character of her piece carries over into Bjarnason's From Space I Saw Earth, whose sweeping tonal masses are so toweringly large it seems as if they're extending from one planetary realm to another.
Sigfúsdóttir's reputation precedes her on the recording. In addition to establishing herself as a composer, she's a violinist well-known for her membership in the band amiina and for touring with Sigur Rós from 2000 to 2008. Compared to the other works, Clockworking for Orchestra is dramatic but also a tad less tumultuous; its keening strings are also explicitly grounded by chiming mallet patterns whose interlock lends the piece a stability less defined elsewhere.
Like Sigfúsdóttir, the Copenhagen-based Bára Gísladóttir is a composer and musician, her instrument the double bass. Gísladóttir's contribution to the album, ÓS, picks up where her recent Sono Luminus album SILVA left off with a blistering textural exploration where strings swarm, horns groan in anguish, and percussive surfaces are violently battered. One of the more impressive things about Atmospheriques, music aside, involves sequencing. While there is a dramatic shift in tone and style from the penultimate piece to the closing one, the album generally advances smoothly from one setting to the next, which makes the recording register as a cohesive singular statement as opposed to a compilation of unrelated works.
-- Textura
