RCO Live - Horizon 6

LUC BREWAEYS (b.1959): Symphony No. 6 (David Robertson [conductor]), Along the Shores of Lorn (Otto Tausk [conductor]), MICHEL VAN DER AA (b.1970): Violin Concerto (Janine Jansen [violin], Vladimir Jurowski [conductor]), DETLEV GLANERT (b.1960): Frenesia (original version) (Xian Zhang [conductor]), Bonus DVD - LOUIS ANDRIESSEN (b.1939): Mysterien (Version No. 1) (Mariss Jansons [conductor]).

Catalogue Number: 05Q081

Label: RCO Live

Reference: RCO 15001

Format: SACD hybrid

Price: $31.98

Description: Brewaeys' symphony is a study in orchestral sonority and timbral diversity. The large orchestra is augmented by electronics, subtly and beautifully integrated into the sonic palette, as befits a work dedicated to the composer's friend and colleague Jonathan Harvey. The work plays for just over twenty minutes of radiant, sonorous rhythmic and textural ingenuity. The slowly evolving saturated chords of spectralism alternate with rhythmically complex passages of exhilarating activity, propelled by a pulsing engine of spatialized percussion. In the 'finale' the music gradually fades away over a strange detuned tolling bell effect, eerily beautiful. Along the Shores of Lorn is related to Brewaeys' Oban, one of a series of works inspired by the complexities of Scottish malt whiskies. The piece is continuous, in four sections with an oasis of eerie calm anchored by multiphonics and extended sounds and echoing solos calling across vast spaces in the rôle of a slow movement, and a pulsating motoric mechanism for a scherzo. Van der Aa's concerto is a contemporary take on the traditional form; in three movements, it confronts a theatrically virtuosic solo part with an urgently discursive, even combative orchestra. The style is eclectic, sometimes motoric and largely tonal, even suggesting non-classical styles; sometimes spikily atonal, and in the central slow movement, lyrically melancholy and increasingly tr agic, with a frenzied cadenza-like episode in which orchestral soloists are drawn into the argument. Glanert's Frenesia, a tribute to Richard Strauss, has its roots in Straussian romanticism in a grand orchestral essay of tangible physicality, described by the composer in terms of musculature and kinetic vitality. The bonus DVD is the world premiere of Andriessen's Mysterien, based on the devotional writings of Thomas à Kempis. The work's massive blocks of sound, inexorably grinding together, and spatialised hocketing are unmistakable Andriessen, as are the striking sonorities (including a eerie detuned harp), though the piece largely avoids the brash motoric aspects of the composer's output in favor of a slow and sonorous mysticism reminiscent of De Tijd - the exception being the epic conflict between earthly, sinful activity and monumental heavenly stasis that makes up the fifth movement.

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