A. Holszky - Bremer Freiheit - COMPACT DISCS [CD]

Adriana Hölszky’s music has a unique sculptural quality. InchWhere does the sound come from, and where does it go?Inch This question is central to her entire creative output and essential for the development of musical content in her works. Hölszky's third music theater piece, InchTragödia (Der unsichtbare Raum)Inch [Tragedy The Invisible Room] marks an extreme within her compositions The changing constellations of the music bring the “Tragedy” to life - plot and language are radically excluded. The 18 instrumentalists, together with live electronic effects and pre-recorded material, produce a tremendous variety of sound recollections, shock gestures, and colors. “One is permanently aware of the absence of characters, constantly expecting someone to appear, but this state of anticipation is sustained until the end of the piece - and left unresolved.” (Hölszky) Import Hybrid-SACD pressing. Album Tracks 1. Tragödia, the Invisible Room, a Work with Theatrical Rooms for Stage Set and 18 Instrumentalists, Tape and Live Electronics, CD

A new era in church music dawned with the creation of German-language sacred songs functioning as the counterpart to Latin Gregorian chant. The WESER-RENAISSANCE ensemble under it's experienced conductor Manfred Cordes is now presenting a colorful selection of the most beautiful hymn settings from the Wittenberg first edition of 1524-25. The Urkantor Johann Walter was a close associate of Martin Luther and the founding father of the important institutional and artistic tradition of the Protestant cantorate. In his music Walter followed the model of the German tenor song, a genre important in the development of German music history and of secular orientation in it's principal variant. The melody is in the tenor part of the song settings, all of them in four parts, and in formal respects differs only slightly from the monophonic tradition. With his Gesangk Buchleyn Walter marked the beginning of the significant tradition of Protestant chorale settings that would reach it's artistic high point in the music of Johann Sebastian Bach. Album Tracks 1. Nun Bitten Wir Den Heiligen Geist 2. Ach Gott Vom Himmel Sieh Darein 3. Komm, Heiliger Geist, Herre Gott 4. Mitten Wir Im Leben Sind Mit Dem Tod Umfangen 5. Gott Sei Gelobet Und Gebenedeiet 6. Aus Tiefer Not Schrei Ich Zu Dir 7. Christ Lag in Todesbanden 8. Mit Fried Und Freud Ich Fahr Dahin 9. Herr Christ, Der Einig Gotts Sohn Vaters in Ewigkeit 10. Jesus Christus, Unser Heiland 11. Erbarm Dich Mein, O Herre Gott 12. Wir Glauben All An Einen Gott

Adriana Hölszky's own comments concerning her music reveal her fascinating use of parameters such as InchspaceInch and InchtimeInch. She prefers to describe her works as individually structured Inchsound spacesInch. There are Inchexpanding and shrinking spacesInch, and there are shifts from one sound area to another, which she compares to film editing with it's sharp cuts or gentle fades. There are sudden InchintrusionsInch of one sound area into another, and sometimes two or more sound areas are superimposed. Also, the concept of time does not exist for her as a single entity Temporal processes appear in multiple strands in her music cosmic time, terrestrial time, and an endless variety of experiential times that permeate one another and are superimposed.Her work InchEfeu und LichtfeldInch [Ivy and Field of Light] also contains a stark contrast within itself. InchThe worlds of the violin and organ appear to exist independently of one another. The violin figures move like pin pricks in a disconnected and restless fashion, primarily in the extreme upper register of the instrument. The organ sounds are like pulsating sources of light. The multiple meanings of the contrasting sounds arise finally as a consequence of the interaction between gradual transformations of color and discontinuous changes in pulse.Inch (Hölszky) Album Tracks 1. Und Ich Sah Wie Ein Gläsernes Meer Mit Feuer Gemischt 2. Efeu Und Lichtfeld 3. Ein Wort 4. Ein Glanz 5. Ein Flug, Ein Feuer, Ein Flammenwurf, Ein Sternenstrichnz 6. Und Wieder Dunkel, Ungeheuer, Im Leeren Raum Um Welt Und Ich