Elisabeth Holte - Song - BLU-RAY AUDIO

Folk tunes have always been an important part of the repertoire of the Norwegian Girls Choir; being a vital aspect of the choir's identity and of it's active enactment of cultural tradition. In STJERNEBRU orjan Matre has taken a selection of Norwegian folk tunes as his starting point, and they are combined with improvisations and arrangements as intermezzos. The word Stjernebru (Bridge of Stars) is taken from the hymn Nedi vester soli glader (The sun is sinking in the west), and alludes to the journey to the next world the transition, or bridge, from the earthly to the eternal. The word can also refer to the night sky itself, and Lux Aeterna - eternal light - is a theme that runs through the whole album. Det Norske JentekorAnne Karin Sundal-Ask, conductorGjermund Larsen, fiddleFrode Haltli, accordionorjan Matre, composerMorten Lindberg, balance engineer and recording producerDisc 1Hybrid SACDMCH 5.0 DSDStereo DSDRedBook PCM MQA CDDisc 2Pure Audio Blu-ray2.0 LPCM 192/245.0 DTS HDMA 192/247.0.4 Auro-3D 96kHz7.0.4 Dolby Atmos 48kHzmShuttle MQA + FLAC + MP3Region ABC - worldwide

Gorecki / Vokalensemble / Nakaso / Drope - Polska [COMPACT DISCS] date 09/09/2016

Composer Ørjan Matre has worked with Oslo Chamber Choir for over a decade. For Veneliti he has been able to profit from the choir's strong traditions in folk music in his sonic interpretations of Norwegian folk songs - fervent hymns, mystical legends and bittersweet love songs. By returning to the songs' sources and how they have traditionally been sung, Matre has preserved their core identity, giving it new life and meaning in his sonic world. Recorded here in immersive audio, you, the listener, take part in this world as if you were sitting in the choir yourself. The music you are about to listen to has been on a long journey before it finally reaches your ears. It comprises fervent hymns, mystical legends and bitter love songs. Exactly where the journey began, however, is not easy to say, but along the way the songs gain new life through the people who sing them, each time with a slightly different shape, a different feeling, maybe a new purpose - but at their core, they remain the same. Ørjan Matre has listened to the songs, to the singers who perform them, and has listened to old recordings of the songs, where possible. By doing this, he has been able to identify the songs' core identity - a tricky task given the difficulties of translating such melodies through traditional scoring systems. Therefore, rather than being traditional arrangements, Matre's compositions are more a sonic interpretation of that very identity. Unni Løvlid has been teaching the choir in traditional styles of singing. By learning by ear, rather than reading the music, the singers have acquired a different kind of InchownershipInch of both the music and the lyrics. In addition, this approach allows for the singers to inject more of their own personality into the music. As for the live performances, conductor Hakon Daniel Nystedt has continued the by-ear approach, and, in so doing, has creat