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Tavener: Fall and Resurrection [(+booklet)]
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Détails sur le produit
Descriptions du produit
The World Premiere performance of Sir John Tavener's epic work written for the new millennium, recorded in St Paul's Cathedral, London, in January 2000. The composer makes full use of the remarkable acoustic of St Paul's, presented here in breathtaking 5.1 Surround Sound.
<h3 class="productDescriptionSource">Press Reviews
"Although one can never fully capture the atmosphere of a live performance, this DVD...brings you as close as you can get. Indeed for a piece of music...that largely consists of a series of grand effects perhaps it is even in some way enhanced on DVD. The vast architecture and acoustics of St Paul's Cathedral are exploited to the full in a colourful kind of son et lumiére which is well captured by intelligent camera work and very clear surround sound. There are some wonderful aural effects; for example, the thundering climax of the final Cosmic Dance of the Resurrection , with full organ and peal of Easter bells, is quite overwhelming...This is a well presented collector's edition , providing everything possible to increase the listener's appreciation of the piece." (Choir & Organ)
"By any standards, the closing minutes made an overwhelming impression...A thunderous climax echoed round the great dome of St Paul's..." (The Times)
"From the opening where the hall was swathed in a purple light and a shimmering sound, to the climax complete with blaring ram's horns, Fall and Resurrection conveyed the right balance of structure and feeling, of heart and soul." (The Daily Express)
"This collection of some of John Tavener's most attractive choral pieces is not only beautifully sung by The Choir, a professional group founded in 1999, but imaginatively presented. Using virtual-reality techniques, the 14 singers, recorded in a Dutch television studio in Hilversum, are placed against the background of Hagia Sophia in Istanbul (what was in medieval times the church of St Sophia)...A fine DVD première for Tavener's music." (The Penguin Guide)
Patricia Rozario (Soprano)
Michael Chance (Counter-tenor)
Martyn Hill (psaltis)
Adrian Peacock (Voice of God/Christ/Devil)
Stephen Richardson (Bass)
St. Paul's Cathedral Choir; City of London Sinfonia; Richard Hickox
Catalogue Number: OA0841D
Date of Performance: 2000
Running Time: 96 minutes
Sound: Dolby Surround; Dolby Stereo
Aspect Ratio: 16:9 Anamorphic
Label: Opus Arte
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Commentaires en ligne
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In the words of the composer, "Fall and Resurrection" tries to "encompass, in brief glimpses, the events which have taken place since the beginning of time." Lasting just under an hour, and scored for soloists, choirs, and orchestra, "Fall and Resurrection" gives us snapshots of Biblical events, often reduced to single words of sung text. In effect, these texts become symbols ("Apple.") which we must surround with our own subtexts and associations, because the composer provides very few.
Musically, there are moments of beauty--such as Adam's flute solo which becomes, with the arrival of Eve, a duet--and banality (representing Chaos with aleatoric flutterings betrays a real lack of invention). All the trademarks of Tavener's style are here--parallel major/minor phrases, lugubrious choral writing, and a striving for transcendence.
The live recording was made in cavernous St.Paul's Cathedral, and the performances uniformly excellent. There are occasional lighting and spatial effects which amplify the drama of the music. The sound on my VHS copy was terrible. Often soft passages were completely obscured by background hiss.
"This could be called Tavener's Creation, an oratorio-like account of the Biblical tale beginning with the representation of primordial Chaos. Tavener takes the story much further than Haydn....But like Haydn's, this is a warmly mature work, epitomizing it's composer's style and personality...Tavener's richly exotic textures are beautifully evoked by Hickox". GRAMOPHONE (Hickox passed away a week ago and will be greatly missed by the musical world).
'Fall and Resurrection' tries to encompass, in brief glimpses, the events which have taken place since the beginning of time, and before time. Therefore, if the listener does not approach this from a viewpoint that this is 'program music' in the truest sense of the word, much like the tone poems of Richard Strauss, then there can not be any understanding OR enjoyment from this music!
It would be most helpful if the listener experienced the CD before the DVD, because I found that one has to focus completely on the music, itself, without the distraction of looking at the instruments, the conductor, the soloist and the captions. However, after listening to the CD (maybe a couple of times), the DVD is very enjoyable because it shows you where all those very interesting sounds are coming from.
This DVD is excellent: good clear picture and sound and great shots of the soloists and conductor and choirs. The sounds that John Tavener makes with the varied tone qualities of the instruments AND the voices!!!Marvelous and creative writing!!! The voice of Michael Chance as he sails up and down on quarter-tones is perfection.
Don't buy this if you can't enjoy something this 'far-out' , but I have found that Tavener's music is an acquired taste, and I don't want to spend the rest of my listening years hearing only one kind of music!!!
Fall and Resurrection tries to encompass, in brief glimpses, the events which have taken place since the beginning of time, and before time. The listener would do well to approach this work as if it were 'program music', similar to the the 'tone poems' of Richard Strauss.
It would also be helpful to hear the CD a few times before watching the DVD, because the music, itself, demands full attention, and that is impossible when watching the DVD since one tends to focus on the instruments, the conductor, the soloists and the choir. If you have some knowledge of the music beforehand, the DVD is quite interesting.
The DVD is excellent: good clear picture and sound and great shots of the soloists, conductor and choir. Tavener has indeed created many and varied sounds by using some most unusual instruments as well as composing some unique vocal effects and the singers are working hard to sing them. Michael Chance does a fabulous job of sailing up and down in quarter-tones.
This is Tavener at his best!!!!
As far as imagination goes, what little thematic material that makes up this sprawling 75 minute extravaganza is frightfully banal. Even a composer that I detest, Andrew Lloyd Webber, has way more melodic fluency than this guy. The presenter on the DVD solemnly informs us of how much the self imposed mathematical complexities of the "Chaos" section so taxed poor Mr. Tavener that it took him a month to write each page (!) The result? Five minutes of seemingly random quasi-aleatoric noodling by the entire orchestra that tries one's patience almost as much one's credulity that it took him so long to write it. What little imagination that is in evidence seems to be primarily in the non-musical arena: theatricality i.e. lighting, the ersatz medieval aesthetic and the choice of the inspirational setting of St.Paul's Cathedral in London. A few musical moments did catch my ear in the "Logos" section but these few morsels of interest failed to buoy the bloated and flaccid corpse that is the remainder of this work.
As for craft, there is precious little of that too. As one other reviewer mentioned, Tavener tends to substitute repetition for development and, I would add, atmosphere for melodic and harmonic invention. In one interview segment he loftily decries development as a "secular" activity while in another interview segment he takes pains to impress the interviewer with a few childish variations he manages to wring from his malnourished Ney Flute "theme". His amatuerish handling of the orchestra and criminal abuse of the singers makes one wonder if he has had any training in orchestration whatsoever. As infuriating as I found his music, the disparaging comments he makes about Bach and Beethoven really frosted me. He implies that whereas he channels the "Creative Imagination of Christ" that those great Masters were "secular" dilettantes bound by their earthly limitations. For a supposedly religious man he seems to suffer greatly from the sins of arrogance and pride in his unilateral denunciation of their divine inspiration as being inauthentic. It hard not to conclude that he dismisses their genius in order to cover his own apparent lack of it.
In short, I hated this music (and the arrogance of the man), and I am disturbed to live in a world where this poverty stricken excuse for profundity has found such a wide audience at the expense of many deserving yet lesser performed composers. The DVD wasn't a total loss however: St.Paul's looks very impressive and well worth a visit on a future trip to London.