ZUIDAM Robert; McGonagall-Lieder - Oliver Knussen Conductor


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Torrent Hash : C3C2A3BB1FF3B8F1291D61E89A9D342F1B9B491F
Torrent Added : 1 Year+ in Music - Music
Torrent Size : 202.66 MB


ZUIDAM Robert; McGonagall-Lieder - Oliver Knussen Conductor
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Robert Zuidam; McGonagall-Lieder
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     03 Rares Mihailescu - McGonagall-Lieder, for soprano, 2 pianos, 4 cellos, double bass & percussion; For Two Pianos and Strings.flac -
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     04 Rares Mihailescu - McGonagall-Lieder, for soprano, 2 pianos, 4 cellos, double bass & percussion; For Two Pianos 2.flac -
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     01 Rares Mihailescu - McGonagall-Lieder, for soprano, 2 pianos, 4 cellos, double bass & percussion; For Two Pianos.flac -
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     02 Rares Mihailescu - McGonagall-Lieder, for soprano, 2 pianos, 4 cellos, double bass & percussion; Address to the New Tay Bridge.flac -
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     05 Rares Mihailescu - McGonagall-Lieder, for soprano, 2 pianos, 4 cellos, double bass & percussion; The Tay Bridge Disaster.flac -
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Description



Music : Classical : Lossless
ZUIDAM Robert; McGonagall-Lieder - Oliver Knussen Conductor






Though across Europe it's been Robert Zuidam's music-theatre that has established his reputation, the only work of the 48-year-old Dutchman that's at all well known in Britain is this very quirky and strangely compelling concert piece from 2001, which his friend and former teacher Oliver Knussen introduced here with the London Sinfonietta the following year. Though its core is the work of the famously bad Scottish poet William McGonagall, Zuidam's McGonagall-Lieder is by no means a conventional song cycle. Rather, it is a 55-minute, five-movement sequence for coloratura soprano, piano duo and ensemble, in which settings of two of McGonagall's best-known poems, Address to the New Tay Bridge and The Tay Bridge Disaster, are embedded.

Zuidam likens the structure of the work to that of a bridge, with the two vocal movements as its arches, and the three instrumental ones as its supports – the "strong brick piers" of the poet's deathless verse. Key to its success is that Zuidam respects McGonagall's seriousness, yet finds ways of mirroring the qualities of his poetry that both heighten its effect and affectionately satirise it. The opening movement for two pianos, for instance – which in its rhetoric, if not its musical style, sometimes recalls John Adams' Grand Pianola Music – prepares the way for the baroque flourishes of the poetry perfectly, while the latently operatic vocal writing, which pushes the soprano soloist Katrien Baerts to the limit, reflects, as Zuidam says, McGonagall's "infatuation" with the engineering of the rebuilt Tay bridge.

Little details, such as the sound of 90 ping-pong balls falling to the ground to represent the passengers of the train disaster falling into the water – a reflection of McGonagall's description of the tragedy – are wonderfully judged. As Knussen's performance with the ensemble Asko Schönberg demonstrates, every detail in the instrumental writing is precisely judged and the piece is assembled with such care that it's totally absorbing, and never remotely frivolous.

The Guardian.
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