Vocal Concert Dresden - Es Ist Ein Ros Entsprungen - COMPACT DISCS [CD]

Sergei Rachmaninoff, Leoš Janácek and Guillaume Connesson are seemingly very different. Nevertheless, in their compositions for cello and piano, they all wrote eloquent and articulate pieces that manage to do one and the same thing. They tell distinctive yet expressive stories which, almost immediately, bewilder us and trigger our imagination. Even though Rachmaninoff's piece is sizable, we should note that Janácek's Pohádka is based on an epic Russian poem and that Connesson's InchLes Chants de l'AgarthaInch in turn drew inspiration from mythological tales. It's quite amusing to realize that all three pieces end with a sort of Inchdance for a kingInch, whether it be a Tsar, a King of the World or a forceful pianist and his cantillate cello friend. There are quite a few triangular relations between the pieces but overall, what strikes us is that both Connesson's and Janácek's works portray specific InchscènesInch rather than telling an overarching story. It is swift storytelling in a fun but flowing way. Even Rachmaninoff's four more elaborate movements are little gems on their own. It's little surprise that the sonata's third movement is often performed separately or as an encore. From a musical perspective the piano in all three pieces is not merely an accompaniment or a supporting guide but a true brother in arms (or partner in crime, as you please).The role of the pianist is very much equal to that of the cellist. At many important turning points it sets the right mood, the precise ambiance, and frequently introduces a musical theme. This last aspect is especially noticeable in the Rachmaninoff sonata. Emmanuel and Damien act as two narrators performing chamber music with a great deal of affection. At the end of the day such outstanding music requires a duo of equals searching for balance between the corresponding lines, to create a sincere interpretation.

A secret society, a clandestine community, mythical rituals indark temples. The image of the Freemasons is surrounded bythe mystic mists of the unknown. When it comes to theirmusic, one should by no means think of Hans Zimmer's epochmaking soundtracks to the Hollywood movies based on Dan Brown's novels! Vocal Concert Dresden has turned to the authentic music of Freemasonry. The exclusivity and selfimposed isolation of the movement fed the legend of theInchRoyal ArtInch that grew up about the fascinating mysteries ofthe Freemasons. What really took place in the inner confinesof their temple remained hidden from view. The development of their mythical, symbolic use of formulae, objects and rituals went hand in hand with a cultivation of specific music. This album offers a whole programme of music that covers both overt and subliminal examples of musical pointers to the lodge brethren's symbols and values threefold repetition for example will symbolise the three ranks of St John Masonry and the three ideals (wisdom, strength and beauty); pounding note repeats represent the masons' hammer blows, while the alternation between soloist and tutti represents the teacher-apprentice relationship between the individual ranks.Schiller's InchOde to JoyInch won favour in more than 100 differentsettings and gained immortal status as the culmination ofLudwig van Beethoven's Ninth Symphony. The widespreadview that it was commissioned as an original poem for themasons is simply untrue. Long before Beethoven tookpossession of the poem, a number of composers in Leipzig and Dresden had set the words to music. Four of those firstsettings laid the foundations for it's popularity and they arefeatured here on this album. Accompanied by a comprehensive booklet, this by Vocal Concert Dresden under the direction of Peter Kopp aims to demonstrate the importance of music, not only to thefreemaso

Vocal Concert Dresden - Le Grazie Veneziane [COMPACT DISCS] date 06/09/2009