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| There are 92 Reviews Done |
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Eric Whitacre - Whitacre: Cloudburst (Polyphony & Stephen Layton)
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| Water night (lyrics) |
| By: |
irincou
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| Date: |
3 Nov 2009 |
| Rating: |
 |
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Night with the eyes of a horse that trembles in the night,
Night with eyes of water in the field asleep
Is in your eyes, a horse that trembles is in
Your eyes of secret water.
Eyes of shadow-water,
Eyes of well-water,
Eyes of dream-water.
Silence and solitude,
Two little animals moon-led,
Drink in your eyes,
Drink in those waters.
If you open your eyes, night opens doors of musk,
The secret kingdom of the water opens
Flowing from the center of the night.
And if you close your eyes
A river, a silent and beautiful current
fills you from within
flows forward, forward
darkens you
Night brings it's wetness to beaches in your soul
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1 of 2 found this review helpful |
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Leos Janacek, Antonin Dvorak, Bedrich Smetana (...) - Supraphon Selections
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| Rusalka, tender topcomposition, bad rough recording. |
| By: |
Haino
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| Date: |
14 Oct 2009 |
| Rating: |
 |
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Awfull recording!
When hearing this track of Dvorak's "Rusalka",
"O moon in the deep deep sky",
i did not get that fine imagination of the ultimate
expression of female tenderness, fragility, care, beauty,
which this composition should give. A mermaid fallen in love.
Not that tender touching of the words, in the pronounciation.
Not a fluent synchronious orchestra.
Neither did i hear a quiet bright sound,
like one expects on a very lonesome quiet night.
On the edge of a romantic lake with ribbling
fullmoon-reflections in the water, and gentle soft,
allmost inaudible, warm breezing backgroundsound
of that water wind, and owls in the distance.
I prefer the recordings of Eva Urbanova,
Frederica von Stade ('Dvorak in Prague'),
and Renée Fleming.
Listening to them gives tears of tenderness,
a quiet compassion for a tender woman in need.
One can compare it via youtube, for example,
or in a shop. Rusalka is a very beautiful opera.
What i heard in this recording was a scraping sound,
and a performance of a less quality than average.
Haino.
(Relive the beauty in opera. )
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4 of 4 found this review helpful |
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Fazil Say - 1001 Nights In The Harem (Luzerner Symphony Orchestra, Patricia Kopatchinskaja)
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| Not exactly different... |
| By: |
irincou
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| Date: |
9 Oct 2009 |
| Rating: |
 |
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Never said the entire album is Greek! I truly don't believe that. The melody in this Andantino is the Greek song I mentioned! Of course the work is original and very good! I believe that the Orient culture has influenced all the people in this part of the world!
Of course it is a whole chapter in culture! There are also Greek composers who have used Orient melodies. As we (who study history) all probably know, People in this part of the world were so much blended that nobody can claim culture exclusively for one's self! You are right Horizon!
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4 of 4 found this review helpful |
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Fazil Say - 1001 Nights In The Harem (Luzerner Symphony Orchestra, Patricia Kopatchinskaja)
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| Different views |
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Lucerne Symphony Orchestra (in Switzerland ) made to order and the modernity, Turkey's culture and the influence of the subtle art of violin playing come together with the sincerity and passion in "1001 Nights in the Harem" that is completed at the beginning of 2008.
Fazil has shown success Anatolian culture of the different layers of inspiration, as the music of this land have used successfully, sometimes as atonal contemporary lines, in places, tonal, melodic capture the hearts.
It can be determine in this work Bektashi music Mevlevi Ayin, the Ottoman Turkish mode, a former folk song of Istanbul " KATIBIM" and Fazil's love of his own compositions were Ballade section.
The most interesting part of Fazıl's new composition " 1001 Nights in the Harem " is the style BALLAD. This is the song which is mentioned in İrincou's comments. It is incorrect to make generalizations for the entire work. "1001 Nights in the Harem" is a new composition.
Now, “Recently several Macedonian bloggers published the documentary Whose Is This Song ? by a Bulgarian director Adela Peeva on their blogs and started discussing the story. The documentary was filmed as an idea that the director got during a dinner in Istanbul with several friends (a Macedonian, a Serb, a Greek and a Turk), when all of them said that the song playing in the background was from their country.”
http://globalvoicesonline.org/2009/01/20/balkans-whose-is-this-song/
Please watch this video, note that the Ottoman Geography and the decision is yours! “Whose Is This Song ?”
In my opinion ; The music belongs to the time, not any country!
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12 of 12 found this review helpful |
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Giuseppe Verdi - Verdi Choruses
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| Fuoco di gioia |
| By: |
irincou
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| Date: |
23 Jun 2009 |
| Rating: |
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(As the singing goes on around the fire of rejoicing, the tavern-keepers hang varicolored Venetian lanterns from the pergola, giving a festive illumination to the scene. The soldiers gather around the tables, some sitting, some standing, chattering and drinking.)
Fuoco di gioia! - l'ilare vampa
Fuga la notte - col suo splendor,
Guizza, sfavilla, - crepita, avvampa,
Fulgido incendio - che invade il cor.
Dal raggio attratti - vaghi sembianti
Movono intorno - mutando stuol.
E son fanciulle - dai lieti canti,
E son farfalle - dall'igneo vol.
Arde la palma - col sicomoro,
Canta la sposa - col suo fedel;
Sull'aurea fiamma, - sul lieto coro
Soffia l'ardente - spiro del ciel.
Fuoco di gioia - rapido brilla!
Rapido passa - fuoco d'amor!
Splende, s'oscura, - palpita, oscilla,
L'ultimo guizzo - lampeggio e muor.
(The fire slowly dies out; the storm is over.)
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1 of 1 found this review helpful |
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Ludwig van Beethoven - Beethoven: Symphony No. 2, Symphony No. 5
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| 5th Symphony |
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It is not at all that good for the 5th Symphony not to be heard from the beginning to the end all four parts. But since it is understood that it is difficult due to it's length... I think it would be better if the third part is not terminated so abruptly. Makes your breathing uneasy!
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1 of 1 found this review helpful |
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Thomas Tallis - Spem In Alium / Missa Slave Intemerata
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| Tallis: Spem in Alium |
| By: |
Bob
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| Date: |
27 Jan 2009 |
| Rating: |
 |
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One of the most beautiful works in the choral repetorie is done with very little musicallity. The piece is done so slowly that it simply does not hold together. A much better recording was done by the Tallis Society.
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2 of 2 found this review helpful |
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