Chants Hymns & Dances

マーケットプレイス価格:¥ 1,443 (税込)

レーベル:Ecm Records
JAN:0602498196137 売上ランキング:音楽で12235位

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  1. Chant from a Holy Book
  2. Bayaty
  3. Prayer
  4. Duduki
  5. Interlude I
  6. Trois Morceaux après Hymnes Byzantins I
  7. Trois Morceaux après Hymnes Byzantins II
  8. Trois Morceaux après Hymnes Byzantins III
  9. Dance
  10. Chant
  11. Interlude II
  12. Assyrian Woman Mourners
  13. Armenian Song
  14. (No. 11)
  15. Woman´s Prayer
  16. Chant from a Holy Book, var. 1
Philosopher, seeker after the truth, reconciler of science and religion, teacher, guru to artists, writers and musicians, Gurdjieff was an enigmatic figure; even his birthdate is uncertain: 1866 or 1877. He taught movements "to alter or heighten consciousness" at his Institute for the Harmonious Development of Man, located outside Paris---a highly improvisatory process for which he composed equally improvisatory music. Technically untrained, he depended on skilled assistants to realize and write down his ideas, and found one in a devoted disciple: Ukranian pianist/composer Thomas de Hartmann, who selflessly suspended his own career and, after Gurdjieff's death in 1948, privately published and recorded some of their collaborations. As a composer, Gurdjieff, born at the border of Armenia and Turkey, was influenced by the region's ethnic and cultural diversity, by his childhood memories of the religious and philosophical songs improvised by his father, a Greek troubadour, by the hymns of the Greek Orthodox Church, and by his extensive travels through Europe and Asia. For this recording, the performers themselves arranged his compositions for cello and piano, adding five pieces by pianist Tsabropoulos, including three based on Byzantine hymns. Both players have been involved with Armenian, Ukranian and Greek Orthodox music; both are expert improvisers. Their strong feeling and affinity for the material allows them to approach it with both reverence and freedom; the playing is primarily subdued and inward. The piano texture ranges from delicate tinkling to full-blooded chords and arpeggios; the cello, playing mostly in the low and middle register, often in unison with the piano, sounds dark, warm and beautiful. The music, except for one lively dance, is slow, solemn, and mournful, in the minor mode. Melodies featuring oriental intervals are elaborated but not developed; based on single-note drones, harmonies are static or move in stepwise progressions but do not modulate. This lack of contrast and variety creates an otherworldly, disembodied atmosphere, despite several buildups of motion, dynamics, and intensity. --Edith Eisler