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SIG 166
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SIG 166

Castelnuovo-Tedesco/ Surinach/Moruja/Nobre: Yanomami

The Classical Shop
release date: May 2009

Originally recorded in 2009

Artists:

Carlos Fernandez Aransay


Laia Cortes

alto

Jagoba Fadrique

baritone

Karen Cull

soprano

April Fredrick

soprano

Susan Jiwey

soprano

Anthony Hawgood

tenor

Alan Widdowson

tenor

Julian Stocker

tenor

Coro Cervantes



Venue:

St Jude on the Hill, Hampstead, London



Producer:

Lennart Dehn



Engineer:

Stephan Flock



Record Label
Signum

Genre:

Chamber


Choir

Total Time - 78:59
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MARIO CASTLENUOVO-TEDESCO

(1895-1968)
  Poetry by Federico Garcia-Lorca  
 

Romancero Gitano

23:02  
1 Baladilla de los tres rios 4:48
 April Fredrick soprano
 Laia Cortes alto
 Anthony Hawgood tenor
 Jagoba Fadrique baritone
2 La guitarra 3:59
3 Punal 1:43
4 Procesion, Paso, Saeta 6:58
 Jagoba Fadrique baritone
5 Memento 1:43
6 Baile 2:10
 Anthony Hawgood tenor
 Jagoba Fadrique baritone
7 Crotalo 1:41
   
 

CARLOS SURINACH

(1915-1997)
 

Sonatina

4:51  
8 Allegretto 1:25
9 Andante 1:53
10 Allegro 1:33
   
 

Via Crucis

29:34  
  A Cycle of Fisteen Saetas  
11 Pontius Pilate 1:30
12 Scarlet Robe 1:37
13 Crown of Thorns 1:32
14 Via Crucis 0:46
15 Golgotha 0:58
 Karen Cull soprano
16 Crucifixion 1:16
 Anthony Hawgood tenor
17 Eli, Eli… 1:28
 Alan Widdowson tenor
18 The Ghost 1:07
19 The Earthquake 0:56
20 Arisen Saints 2:58
21 The Son of God 1:13
22 Mary Magdalene 2:03
23 The Angel 1:54
24 A Parable 2:09
25 In Heaven 8:07
   
 

FERNANDO MORUJA

(1960-2004)
 

Piezas Sacras

11:04  
26 Ave Maria 2:17
27 Pater Noster 3:13
28 O Bone lewsu 1:09
29 Lux Aeterna 2:15
 Susan Jiwey soprano
30 Hodie Christus Natus Est 2:10
   
 

MARLOS NOBRE

(b. 1939)
31 

Yanomami, Op. 47

10:28
 Julian Stocker tenor


Coro Cervantes is a unique professional chamber choir. Through its perforamances and recordings it aims to bring the music of Iberia and Latin America to audiences everywhere. This disc of 20th century music for the unusual yet fabulous combination of choir and guitar coincides with the 70th birthday of Brazilian composer Marlos Nobre, whose work Yanomam, inspired by the death rituals of the indigenous Yanomami people, gives the album its title. The choir is accompanied by the Brazilian Fabio Zanon, one of most all embracing talents in the international guitar scene.

"The pairing of solo guitar with chorus might not sound like the most felicitous combination; given the guitar’s restricted dynamic range, it seems like it would be easy for it to be swamped by the volume of a chorus. This album demonstrates, though, that a guitar can hold it own, with a fine balance. This is due in part at least to the skill of the composers, who frequently give the guitar a murmuring accompanimental role while the chorus is singing, reserving more intricate solo work for moments when the guitar is playing alone. Coro Cervantes, the only British chorus dedicated to Hispanic and Latin American music, has only 17 members, but it has an unusually full and sumptuous sound, warm and beautifully blended. Conducted by its founder, Carlos Fernández Aransay, the group sings with exceptional purity and brings a real idiomatic sensitivity to this repertoire. The works they have chosen are for the most part very attractive. Mario Castelnuovo-Tedesco’s warmly romantic cycle, Romancero Gitano, settings of Lorca texts, reveals a more sensual side of the composer’s work than is usual and is a real revelation; this is a work that deserves to be widely performed and heard. It would be difficult to identify the five Piezas Sacras by Argentine Fernando Moruja as having Hispanic origins, but they are lovely examples of contemporary choral writing, similar in style and tone to the work of Morten Lauridsen. They are a cappella, which seems to make them out of place on this album, but the album’s subtitle, "Music for choir and guitar," leaves open the option that some of the music is for choir, and some for guitar. The album’s most unconventional piece is Yanomami by Brazilian composer Marlos Nobre, which invokes the ceremonies surrounding the death of a tribal chief. The guitar is the element that binds together the mix of chanting, shouting, extended vocal techniques, conventional singing, and twelve-tone choral procedures into a work of compelling dramatic unity. Carlos Surinach’s English setting of the Via Crucis is the least effective selection; its brief movements are episodic and prosaic, lacking a distinctive compositional voice. The sound is clean, clear, and nicely ambient."

AllMusic.com



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