Resonance Lines / Hannah Collins

Regular price $7.49
Label
Sono Luminus
Release Date
September 24, 2021
Format
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    Featuring
    • COMPOSER
      VARIOUS
    • PERFORMER
      Hannah Collins
    Product Details
    • RELEASE DATE
      September 24, 2021
    • UPC
      053479225221
    • CATALOG NUMBER
      DSL-92252
    • LABEL
      Sono Luminus
    • NUMBER OF DISCS
      1
    • GENRE
    Works
    1. Chiacona

      Composer: Giuseppe Colombi

      Performer: Hannah Collins

    2. Dreaming Chaconne (after G. Colombi's Chiacona)

      Composer: Kaija Saariaho

      Performer: Hannah Collins

    3. In manus tuas

      Composer: Caroline Shaw

      Performer: Hannah Collins

    4. No. 1. —

      Composer: Kaija Saariaho

      Performer: Hannah Collins

    5. No. 2. —

      Composer: Kaija Saariaho

      Performer: Hannah Collins

    6. No. 3. —

      Composer: Kaija Saariaho

      Performer: Hannah Collins

    7. No. 4. —

      Composer: Kaija Saariaho

      Performer: Hannah Collins

    8. No. 5. —

      Composer: Kaija Saariaho

      Performer: Hannah Collins

    9. No. 6. —

      Composer: Kaija Saariaho

      Performer: Hannah Collins

    10. No. 7. —

      Composer: Kaija Saariaho

      Performer: Hannah Collins

    11. Canto primo: Sostenuto e largamente –

      Composer: Benjamin Britten

      Performer: Hannah Collins

    12. I. Fuga: Andante moderato –

      Composer: Benjamin Britten

      Performer: Hannah Collins

    13. II. Lamento: Lento rubato –

      Composer: Benjamin Britten

      Performer: Hannah Collins

    14. Canto secondo: Sostenuto –

      Composer: Benjamin Britten

      Performer: Hannah Collins

    15. III. Serenata: Allegretto: pizzicato –

      Composer: Benjamin Britten

      Performer: Hannah Collins

    16. IV. Marcia: Alla marcia moderato –

      Composer: Benjamin Britten

      Performer: Hannah Collins

    17. Canto terzo: Sostenuto –

      Composer: Benjamin Britten

      Performer: Hannah Collins

    18. V. Bordone: Moderato quasi recitativo –

      Composer: Benjamin Britten

      Performer: Hannah Collins

    19. VI. Moto perpetuo e Canto quarto: Presto

      Composer: Benjamin Britten

      Performer: Hannah Collins

    20. Cadenza (with or without Haydn)

      Composer: Thomas Kotcheff

      Performer: Hannah Collins


Resonance Lines, a term borrowed loosely from physics, refers to the energy emitted or absorbed by an atom as it transitions between different energy states. This is a unique and innate quality for each type of atom that can only be measured and observed under the right enabling circumstances. An ideal artistic collaboration feels like the discovery and realization of deeply held potential for shared creativity—a sympathetic resonance or surge of energy in the colloquial sense—that is revealed when the right conditions are in place. It may feel lucky or it may feel destined, and in special cases, the “resonating” artists are able to nurture and develop their complementary qualities with lasting effect. This album is a collection of music grown of such pairings, collaborations between composers and cellists joined by shared experiences that lead to creative sparks, unique musical gestures, and new sound worlds.

REVIEW:

Despite featuring works created centuries apart, Resonance Lines is distinguished by a remarkable degree of uniformity. That’s attributable to three things in particular: first, Hannah Collins’ cello is the sole instrument involved; second, the cellist brings a deep level of conviction to all six pieces; and third, each of them makes distinct references to music from the past, a move that helps collapse temporal boundaries between the pieces and reveals how the composers built on their personal musical histories with the creation of something new. Collins also has personal connections to the material, which amplifies their resonance all the more.

Every performance on the sixty-five-minute release is so engrossing, one quickly loses sight of the fact that the recording is the product of a single person and instrument. No supplemental effects are used, and neither are they needed when Collins is involved. Solo recordings expose the performer most nakedly, but she in no way suffers as a result. One comes away from the release with a heightened appreciation for her as both cellist and collaborator.

-- Textura