Michala Petri - Corellimania - COMPACT DISCS [CD]
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As the progenitor of a style whose influence more or less came to define the instrumental music of the High Baroque, Arcangelo Corelli (1653 - 1713) occupies a position in music history as unenviable as it is to his great credit. Just what made Corelli's style seem strikingly novel to his contemporaries is a tricky question. To be sure, his standardization and popularization of certain formal tropes - most notably the succession of movement types in Sonate da Camera and Sonate da Chiesa - was a significant part of what his followers considered the 'Corellian' manner. But Corelli's actual compositional style, his way of organizing musical thoughts into phrases and motives, is fundamentally derived from the expressive capabilities of his chosen instrument, the violin. Certain melodic patterns used to modulate and to effect sequences (e.g., chains of sevenths and fifths) basically derive from specificities of violin technique that amplify an instrument with origins primarily in dance music into one that in Corelli's hands, could imitate the rise and fall of the sung and spoken human voice. This tension between idiomatically instrumental techniques and the evocation of the voice is the defining characteristic of Corelli's style throughout all his surviving works and would establish the InchRoman SchoolInch as the supreme measure of musical taste for generations. For this exploration of the 18th century's Corelli Craze, the dynamic star trio of Mahan Esfahani, Hille Perl and Michala Petri unite to trace the Roman's influence, (sometimes in name only...) on the musical legacies of Bach, Händel and Telemann, and of course two works from the pen of the celebrated Italian Master, himself. Gramophone about the Petri/Perl/Esfahani Trio's Bach recording InchWhile the tonal and expressive ra nge of the recorder, viol and harpsichord may appear constrained in comparison to, say, f
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- GenreClassicalDescriptionAs the progenitor of a style whose influence more or less came to define the instrumental music of the High Baroque, Arcangelo Corelli (1653 - 1713) occupies a position in music history as unenviable as it is to his great credit. Just what made Corelli's style seem strikingly novel to his contemporaries is a tricky question. To be sure, his standardization and popularization of certain formal tropes - most notably the succession of movement types in Sonate da Camera and Sonate da Chiesa - was a significant part of what his followers considered the 'Corellian' manner. But Corelli's actual compositional style, his way of organizing musical thoughts into phrases and motives, is fundamentally derived from the expressive capabilities of his chosen instrument, the violin. Certain melodic patterns used to modulate and to effect sequences (e.g., chains of sevenths and fifths) basically derive from specificities of violin technique that amplify an instrument with origins primarily in dance music into one that in Corelli's hands, could imitate the rise and fall of the sung and spoken human voice. This tension between idiomatically instrumental techniques and the evocation of the voice is the defining characteristic of Corelli's style throughout all his surviving works and would establish the InchRoman SchoolInch as the supreme measure of musical taste for generations. For this exploration of the 18th century's Corelli Craze, the dynamic star trio of Mahan Esfahani, Hille Perl and Michala Petri unite to trace the Roman's influence, (sometimes in name only...) on the musical legacies of Bach, Händel and Telemann, and of course two works from the pen of the celebrated Italian Master, himself. Gramophone about the Petri/Perl/Esfahani Trio's Bach recording InchWhile the tonal and expressive ra nge of the recorder, viol and harpsichord may appear constrained in comparison to, say, fArtistMichala PetriTitleCorellimaniaFormatCDLabelOur Recordings
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As the progenitor of a style whose influence more or less came to define the instrumental music of the High Baroque, Arcangelo Corelli (1653 - 1713) occupies a position in music history as unenviable as it is to his great credit. Just what made Corelli's style seem strikingly novel to his contemporaries is a tricky question. To be sure, his standardization and popularization of certain formal tropes - most notably the succession of movement types in Sonate da Camera and Sonate da Chiesa - was a significant part of what his followers considered the 'Corellian' manner. But Corelli's actual compositional style, his way of organizing musical thoughts into phrases and motives, is fundamentally derived from the expressive capabilities of his chosen instrument, the violin. Certain melodic patterns used to modulate and to effect sequences (e.g., chains of sevenths and fifths) basically derive from specificities of violin technique that amplify an instrument with origins primarily in dance music into one that in Corelli's hands, could imitate the rise and fall of the sung and spoken human voice. This tension between idiomatically instrumental techniques and the evocation of the voice is the defining characteristic of Corelli's style throughout all his surviving works and would establish the InchRoman SchoolInch as the supreme measure of musical taste for generations. For this exploration of the 18th century's Corelli Craze, the dynamic star trio of Mahan Esfahani, Hille Perl and Michala Petri unite to trace the Roman's influence, (sometimes in name only...) on the musical legacies of Bach, Händel and Telemann, and of course two works from the pen of the celebrated Italian Master, himself. Gramophone about the Petri/Perl/Esfahani Trio's Bach recording InchWhile the tonal and expressive ra nge of the recorder, viol and harpsichord may appear constrained in comparison to, say, f
Heartless Fools is a collection of works exploring multiplicity and often contradictory ideas. Supported by a Creative Renewal Fellowship from the Arts Council of Indianapolis, many of the works were realized and recorded in January 2018 at Greenhouse Studios in Reykjavík, Iceland. Since these initial recordings, the music has grown through far-reaching collaborations with musicians in the worlds of jazz, classical, and pop. Album credits include experimental pop trio Square Peg Round Hole, vocalists Isaiah Robinson and Hanna Benn, and Icelandic cellist Þórdís Gerður Jónsdóttir.While the music itself is not intended to be political, the title Heartless Fools refers to the response of two characters to the current political landscape. The first is working through shock and grief as they awake to the realities of this world, and is trying to make sense of it all. The other, fueled by an imagined loss of cultural identity, is full of a rage that causes them to do inhumane things. This shows up in the music as a struggle between order and chaos, contemplation and impatience. The works constantly push in pull, both internally and with one another.
Like the many Banded Stilts that spread across the cover of her newest album Flood, Stella Donnelly is wading into uncharted territory. Here, she finds herself discovering who she is as an artist among the flock, and how abundant one individual can be. Flood is Donnelly's record of this rediscovery the product of months of risky experimentation, hard moments of introspection, and a lot of moving around. Her early reflections on the relationship between the individual and the many can be traced back to Donnelly's time in the rainforests of Bellingen, where she took to birdwatching as both a hobby and an escape in a border-restricted world. By paying closer attention to the natural world around her, she recalls InchI was able to lose that feeling of anyone's reaction to me. I forgot who I was as a musician, which was a humbling experience of just being; being my small self.Inch Reconnecting with the 'small self' allowed Donnelly to tap into creative wells she didn't know existed. Soon songs were coming to her in a way she could not control and over the coming months, Donnelly accumulated 43 tracks as she moved out of Bellingen and around the country, often finding herself displaced due to border restrictions, a tough rental market, and once from the joys of finding black mould in the walls. InchI had so many opportunities to write things in strange places,Inch Donnelly remarks, having passed through Fremantle, Williams, Guilderton, Margaret River and Melbourne. InchI often had no choice about where I was. There's no denying that not being able to access your family with border closures, it zooms in on those parts of your life you care about.Inch With new locations came new approaches. InchIt freshened things up for sure,Inch Donnelly says, and writing with band members Jennifer Aslett, George Foster, Jack Gaby and Marcel Tussie, soon began to feel like kindergarten pla
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From Renaissance Spain to 21st century Denmark, On a Ground is a musical journey across time and traditions,centered around one of music's most universal elements theground bass. Celebrated recorder virtuosa Michala Petriand renowned Japanese baroque harpist Marie Nishiyamaunite to explore the expressive power of this timeless form.Recorded, after a concerttour i Japan, including SuntoryHall, and just before the global lockdown at Chichibu MusePark in Japan, the album presents intimate and evocativeinterpretations of works by Diego Ortiz, Alessandro Marcello,J.S. Bach, Erik Satie, and contemporary Danish composerLars Hannibal, among others. The duo's collaboration revealsthe meditative beauty and subtle intricacies of their ancientinstruments.From the iconic Greensleeves and baroque gems to lyricalmodern compositions, On a Ground is a graceful, immersivelistening experience rooted in shared artistry and a deeprespect for musical heritage.Recorded December 2019, Chichibu Muse Park, Japan in theDXD by Hironori Kosaka (OMF).
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