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Wydawnictwo: Lawo Classics
Nr katalogowy: LWC 1086
Nośnik: 1 CD
Data wydania: październik 2015
EAN: 7090020180984
Nr katalogowy: LWC 1086
Nośnik: 1 CD
Data wydania: październik 2015
EAN: 7090020180984
Nasze kategorie wyszukiwania
Epoka muzyczna: współczesna
Obszar (język): angielski (Australia)
Rodzaj: koncert
Epoka muzyczna: współczesna
Obszar (język): angielski (Australia)
Rodzaj: koncert
Lim: Jon Oivind Ness
Lawo Classics - LWC 1086
Kompozytor
Liza Lim (ur. 1966)
Liza Lim (ur. 1966)
Wykonawcy
Cikada Ensemble
Cikada Ensemble
The concert on this CD recording took place in St Paul's Church, Huddersfield on 23 November 2014. Liza Lim about her works: "The Heart’s Ear (1997) is a meditation on a fragment of a Sufi melody. Sufism could be thought of as an expression of the ecstatic dimension of Islam, perhaps quite close to Gnostic traditions in Christianity which emphasise the element of mystery or mysticism and the ideal of an ecstatic communion with the divine’ The piece I wrote for the Cikada ensemble is also about threads of song and ways of listening. Winding Bodies: 3 Knots (2014) looks at the old Nordic tale of sailors going to sorcerors to ‘buy the wind’ tied in three knots – untying the first knot would release a breeze, the second a strong wind and the third contained a hurricane which should never be untied… The piece is full of creaking and air sounds amongst snatches of melody led by the hardanger fiddle. At the end of the piece the players are asked to play fragments of what has gone before from memory. Rather like the proverbial knot in the handkerchief, the act of remembering performed by the musicians releases an intensity of attention which comes from their inner listening. For me, this moment is a wonderful gift from them to us." Jon Oivind Ness about his works: "Some time around 2005, my interest in a musical expression that was hectic, swift and often humorous shifted to one that was slower, more introvert. This coincided with a move away from complexity towards simplicity. There was also an element of pragmatism in this transition. I began using quarter tones, and became convinced that if you gave an 'ordinary' classical musician difficult challenges in all areas simultaneously, you won't necessarily get the best result. The quarter tones demanded focus and time to really stand out, so the rhythms became simpler. I gradually became increasingly interested in Bruckner, who until then I'd always placed somewhere in the background. Mahler was the man for me, but once you begin to contemplate and write long pieces, it's difficult to ignore Bruckner. Gimilen first evolved as the trio Drop for flute, clarinet and piano, and was written for the Cikado Trio. The expression of the material played by the rest of the ensemble often differs from that of the trio, resulting in two quite distinct pieces."
Cikada Live at Huddersfield Contemporary Music Festival
Cikada Live at Huddersfield Contemporary Music Festival