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CHAN 9748
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CHAN 9748
Whale Spirit Rising

Whale Spirit Rising

The Classical Shop
release date: November 1999

Recorded in 24 Bit / 44.1Khz

Originally recorded in 1997

Artists:

I Musici de Montréal


Yuli Turovsky


David Mott

baritone saxophone†

Eleonora Turovsky

violin*

Venue:

Concordia University Concert Hall


L'Église de la Nativite de la Sainte Vierge, La Prairie, Quebec



Producer:

Mark Corwin

(Ellias)

Ralph Couzens

(Jarrett & Mozetich)

Engineer:

Jonathan Cooper

(Assistant: Jarret & Mozetich)

Mark Corwin

(Ellias)

Ralph Couzens

(Jarrett & Mozetich)

Record Label
Chandos

Genre:

Orchestral & Concertos


Contemporary

Total Time - 59:08
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Whale Spirit Rising

 

MARJAN MOZETICH

(b. 1948)
Select Complete Single Disc for
1 

Fantasia . . . sul linguaggio perduto

14:16
   
 

RODDY ELLIAS

(b. 1949)
2 

Whale Spirit Rising†

26:24
   
 

KEITH JARRETT

(b. 1945)
3 

Elegy for Violin and String Orchestra*

18:28
Yuli Turovsky leads renowned orchestra I Musici de Montreal on this disc of music influenced and inspired by the world of jazz.

This is the premiere recording of Roddy Elias’s Whale Spirit Rising

Yuli Turovsky has made many recordings with Chandos over the years, many of which are still very highly regarded. I Musici de Montreal’s recording of Evengelista, Ginastera and Villa-Lobos (CHAN 9434) was highly acclaimed by Gramophone while their disc of Handel’s Concerti grossi, Op. 6 (CHAN 9004-6) was awarded a Penguin Guide’s Rosette. Their disc Verdi and Variations (CHAN 9662), received glowing praise.


Whale Spirit Rising for baritone saxophone and string orchestra reflects, in a unique way, the diverse interest and talents of Canadian composer, teacher and jazz musician Roddy Elais. The ‘Spirit’ referred to in the title harkens back in large measure to a water creature (half-fish, half-human) named Kwimu who figures prominently in a legend of the Mimacs (a North American Indian tribe on Nova Scotia and Quebec). The work was written for friend and fellow musician David Mott. Only about a tenth of the solo part is written, the rest is to be improvised.

Fantasia… sul linguaggio perduto (Fantasia… for a lost language) was originally written for flute, violin, viola and cello in 1981, but in 1985 was arranged for string orchestra. The energetic rhythmic pulse of the opening serves as a recurring element throughout the work. The lush orchestral palette of late Romanticism is woven into the work as reminiscences of unforgotten musical styles make brief, poignant appearances.

Jarret’s Elegy for Violin and String Orchestra had is debut in 1985 in Tokyo. The mournful, yet lyrical, themes are made more plaintive through Jarrett’s effective use of chromaticism as well as frequent metre changes that permit a flowing accentuation of the melodic line. The sombre mood of this elegiac composition is emphasised for the musicians with score indications such as ‘pensive’, ‘singing’ and ‘ dark song’. Given Jarrett’s love of improvisation, it is not surprising to note that there are two cadenzas for the solo violin.


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*****
T Solli