伊莱·斯宾德尔 布鲁克林弦乐团《残像》Eli Spindel, The String Orchestra of Brooklyn - afterimage 2020 Hi-Res 24bits - 96.0kHz

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Eli Spindel, The String Orchestra of Brooklyn - afterimage (2020) [Hi-Res]
伊莱·斯宾德尔 布鲁克林弦乐团《残像》

残像
伊莱·斯宾德尔（Eli Spindel），布鲁克林弦乐团
由Furious Artisans 于 2020 年 1 月 17 日发布
主要艺术家： Argus Quartet 乐团 Mellissa Hughes 雷切尔·李 布鲁克林 Priday 弦乐团 凯特 ·玛罗尼 伊莱·斯宾德尔
类型： 古典
数字小册子
afterimage
Eli Spindel, String Orchestra of Brooklyn
Released on 17/01/2020 by Furious Artisans
Main artists: Argus Quartet Mellissa Hughes Rachel Lee Priday String Orchestra of Brooklyn Kate Maroney Eli Spindel
Genre: Classical
Digital booklet

Available in
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Stereo



Album review
In live performances, the String Orchestra of Brooklyn has promoted contemporary music but also sought to "democratize" the concertgoing experience, in part by playing familiar music. On Afterimage, the orchestra's debut release, the group takes a simple, innovative approach to the problem: it includes two historical works, the Caprice No. 6 for solo violin in G minor ("The Trill") of Paganini, and the first movement of the Stabat Mater of Pergolesi, preceded by contemporary treatments of these works. The term "remix" isn't included in the graphics, but it may be relevant. For Stabat Mater Dolorosa, composer Jacob Cooper's take on the Pergolesi, one may more readily think of Notre Dame organum, with its vastly stretched-out choral structures based on segments on Gregorian chant. Cooper takes seven minutes to even get to the beginning of the text, and early minimalist textures are in evidence, but a link in mood with the Pergolesi persists, and putting the new works ahead of their models, which at first seems annoying, works at a basic musical level. The same is true of Christopher Cerrone's High Windows, which deconstructs the Paganini Caprice. The String Orchestra of Brooklyn, an all-volunteer group, holds up under the considerable pressure of the 27-minute Cooper work, and in general, this is an appealing example of the work of new composers who are trying to forge connections with historical classical repertory.

© TiVo



专辑评论
在现场演出中，布鲁克林弦乐团不仅推广了当代音乐，还试图通过演奏熟悉的音乐来“普及”音乐会的体验。在乐团的首张专辑《余像》中，该乐团采取了一种简单而创新的方式来解决这个问题：它包括两部历史作品，帕格尼尼的 G 小调小提琴独奏随想曲第 6 号（“颤音”）和佩尔戈莱西的《圣母悼歌》第一乐章，前面是这些作品的当代版本。图形中没有包含“混音”一词，但它可能与之相关。对于作曲家雅各布·库珀对佩尔戈莱西的《圣母悼歌》，人们可能更容易想到巴黎圣母院的奥尔加农，其基于格里高利圣咏的片段而展开的合唱结构。库珀甚至花了七分钟才讲完歌词的开头，早期的简约主义纹理显而易见，但与佩尔戈莱西的情绪联系仍然存在，将新作品置于其原型之前，这乍一看似乎很烦人，但在基本的音乐层面上是有效的。克里斯托弗·塞罗内的《高窗》也是如此，它解构了帕格尼尼的《随想曲》。布鲁克林弦乐团是一个全志愿者组成的团体，在库珀 27 分钟作品的巨大压力下坚持下来，总的来说，这是新作曲家试图与历史古典曲目建立联系的作品的一个吸引人的例子。

© TiVo

        01. High Windows.flac
        02. Stabat Mater Dolorosa (Version for Voices & Orchestra).flac
        03. 24 Caprices, Op. 1, MS 25 No. 6 in G Minor The Trill.flac
        04. Stabat Mater, P. 77 No. 1, Stabat Mater dolorosa.flac






关于专辑
1 张光盘 - 4 首曲目
总长度： 00:49:28
1 本电子小册子
主要艺术家：
阿古斯四重奏

梅丽莎·休斯

Rachel Lee 普里戴

布鲁克林弦乐团

凯特·玛罗尼
艾利·斯宾德尔
作曲家： 多位作曲家
标签： Furious Artisans
类型： 古典
可用
24 位/96 kHz
立体声
数字小册子

（C）2020 愤怒的工匠 （P）2020 愤怒的工匠

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