La Grande Chapelle - Song of the Soul - COMPACT DISCS [CD]

The Brutalist (Original Motion Picture Soundtrack) Nominated for 10 Academy Awards, including Best Original Score, and shot in the glorious, vintage VistaVision , Brady Corbet's The Brutalist stands as a monumental achievement in filmmaking. Opening with a mesmerizing and continuous 10-minute overture, composer Daniel Blumberg's music sets the stage for the film's epic narrative, which spans multiple decades and follows fictional Hungarian architect László Toth (played by Adrien Brody) as he rebuilds his life in post-war America. - Encompassing large-scale brass orchestrations, intimately lyrical piano melodies and freewheeling, improvisational jazz, The Brutalist's score is as ambitious and broad in scope as the film itself. Envisioning the score as slabs of sound - rich and resonating while also measured and restrained - the music developed into the sonic embodiment of the Brutalist design aesthetic, where imposing scale and raw textures meet values of simplicity and economy. To craft it's singular sound, Blumberg worked with a cast of boundary-pushing musicians and improvisers, traveling across the UK and Europe with a custom-built remote recording setup to capture his players on location. Exploiting the tension between the fluidity of improvised music and the meticulous precision of film scoring, Blumberg coaxed out beautifully rich and resonant performances from his collaborators, including avant-garde innovators Axel Dörner (trumpet), Evan Parker (saxophone), Sophie Agnel (piano), and John Tilbury (piano), to name a few. - For the film's frenetic and intoxicating jazz club scene, Blumberg assembled a jazz quartet (comprised of Pierre Borel on saxophone, Simon Sieger on piano, Joel Grip on bass, and Antonin Gerbal on drums) to perform improvised versions of his themes live on set, resulting in one of the film's most electrifying numbers, as well as additional pe

The enormous popularity enjoyed by the works of Jose de Nebra, the leading Spanish composer in the mid-18th century, is a cause for surprise. His manuscripts are scattered across archives throughout Spain and the Americas. Jose de Nebra rose to be one of the organists of the Spanish Royal Chapel in 1724 and it's vicemaestro from 1751. Following the 1750 prohibition of performing villancicos in the royal institution, Nebra composed a complete series of Christmas Day responsories for the Matins service. From among the different versions, La Grande Chapelle offers the full version from 1752, which is unquestionably one of the indispensable works of Spanish Baroque music. The performance of this collection, following the study and transcription of the musical sources still in existence, represents a premiere of great musicological and artistic interest.

Situated on the very western edge of Europe, Santiago de Compostela has been a spiritual and artistic center since the Middle Ages. In the seventeenth century, it's cathedral enjoyed a golden age that led to the transformation of it's Romanesque structure into a Baroque landmark. There, a polychoral style was abundantly cultivated, giving both solemnity and grandeur to religious ceremonies. Among the maestros that served the Compostela cathedral, José de Baquedano stands out. A Navarran composer who perfected his artform with Matías Ruiz at the Royal Monastery of the Incarnation in Madrid, he left a notable vocal legacy in Spanish and Latin after three decades of practice. Therein, his pieces written for Holy Week are especially remarkable. This recording offers a novel anthology of Baquedano's Latin work, with a selection of motets, psalms and lamentations written for two and three choirs, revealing the magnificent talent of this composer from Finisterre.