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Артист: Various Альбом: Жанр: Классическая музыка 20-го века Формат файла: .ape+.cue Ссылка: CD Нахождение: Torrent

Реквиемы, в порядке рождения композиторов, названия альбомов "активные"- линки на короткое описание:

1. Сэр Чарльз Вилльерс Станфорд: Реквием.

2. Отто Олссон: Реквием.

3. Кириллус Константинович Креэк: Реквием

4. Герберт Хоуэллс: Реквием.

5. Курт Вейль: Берлинский Реквием.

6. Морис Дюруфле: Реквием.

7. Эдуард Тубин: Реквием по павшим солдатам.

8. Вагн Холмбу: Реквием по Ницше. (Мастхэв)

9. Хенрик Миколай Гурецкий: Маленький Реквием.

10. Йонас Кокконен: Реквием.

11. Освалдас Балакаускас: Реквием в память Стасиса Лозораитиса.

12. Томас Беверидж: Памятный Реквием (Yizkor Requiem).

13. Оливер Грейф: Соната для Реквиема.

14. Рагнар Гриппе: Реквием



Логи подобные, "Range quality" не всегда 100%, но "No errors occured" во всех рипах:

QUOTE

EAC extraction logfile from 3. June 2007, 16:10 for CD Ragnar Grippe / Requiem Used drive : _NEC DVD+-RW ND-3530A Adapter: 0 ID: 0 Read mode : Secure with NO C2, accurate stream, disable cache Read offset correction : 48 Overread into Lead-In and Lead-Out : No Used output format : Internal WAV Routines 44.100 Hz; 16 Bit; Stereo Other options : Fill up missing offset samples with silence : Yes Delete leading and trailing silent blocks : No Native Win32 interface for Win NT & 2000 Range status and errors Selected range Peak level 100.0 % Range quality 100.0 % CRC 0BC56030 Copy OK No errors occured End of status report

This post has been edited by timtima on 06-06-2007, 14:57

Сэр Чарльз Вилльерс Станфорд: Реквием



Страна: Ирландия
Жанр: Реквием
Год выпуска: 2004
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 01:44:29
Трэклист:
Реквием, op. 63 (1896)
Закрытый покрывалом пророк из Хорасана (выдержки из оперы) (1879)*

Исполнение:

Peter Kerr (tenor)
Virginia Kerr (soprano)*
Nigel Leeson-Williams (bass)
Frances Lucey (soprano)
Colette McGahon (mezzo-soprano)
RTE Philharmonic Choir/Mark Duley
RTE National Symphony Orchestra of Ireland/Adrian Leaper (Requiem)/Colman Pearce (Khorassan)

Recorded at the National Concert Hall, Dublin, Ireland, Feb, Sept 1994. DDD


Доп. информация: Станфорд (Stanford) Чарлз Вильерс (1852-1924), английский композитор, дирижёр, музыковед, педагог. По происхождению ирландец. Один из основоположников новой композиторской школы (так называемого английского музыкального возрождения). 11 опер, оратории, кантаты, симфонии, 5 ирландских рапсодий, хоры, около 200 песен, обработки народных песен. Профессор Кембриджского университета (с 1887). "Музыкальная композиция" (1911), "История музыки" (1916; совместно с С. Форсайтом).

Отто Олссон: Реквием



Страна: Швеция
Жанр: Реквием
Год выпуска: 1993
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 01:08:04
Трэклист:
1 Requiem
2 Kyrie
3 Dies irae
4 Tex tremendae
5 Recordare
6 Confutatis
7 Domine Jesu
8 Hostias
9 Sanctus
10 Agnus Dei

Исполнение:

Gustaf Vasa Oratorio Choir
Royal Opera Orchestra - Anders Ohlson
Sylvia Lindenstrand
Inger Blom
Bjorn Haugan
Olle Skold


Доп. информация (на русском языке по данному композитору ничего найти не смог):

Otto Olsson (19 December 1879 – 1 September 1964) was a Swedish composer of classical music.

Otto Olsson was one of the greatest organ virtuosos of his time. After studying organ at the Stockholm Conservatory, he joined the staff as a professor of harmony and organ. His strong background in counterpoint combined with an affinity for French organ music to create his late Romantic style of composition. He also had an interest in earlier music and used the plainchant techniques of Gregorian chant in his Gregorianska melodier. He explored polytonality in his work, an advancement not found in other Swedish works of the time. In addition to many fine works for the organ, instrumental and choral works, his best-known work is his setting of the Te Deum, a large piece for chorus, string orchestra, harp, and organ.Cateogry:1964 deaths

Кириллус Константинович Креэк: Реквием



Страна: Эстония
Жанр: Реквием
Год выпуска: 2006
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 01:01:31
Трэклист:

Requiem
1 Introitus 9:01
2 Dies Irae 5:21
3 Recordare 3:56
4 Oro supplex 3:31
5 Domine Jesu 3:17
6 Hostias 2:16
7 Sanctus 3:09
8 Agnus Dei 13:52
Исполнение:
Mati Turi, tenor; Piret Aidulo, organ; Estonian National Opera Symphony Orchestra, conductor Arvo Volmer; Estonian National Opera Chorus, chorus master Elmo Tiisvald; Girls’ Choir Ellerhein, chorus master Tiia-Ester Loitme.

Musica Sacra
9 Psalm 137 (By the rivers of Babylon) 5:47
10 Psalm 121 (If I lift up my eyes to the hills) 2:26
11 Oh Virgin Mother of God 1:26
12 Psalm 142 (I call upon you, O Lord) 2:10
13 Psalm 104 (Bless the Lord, O my soul) 1:43
14 Blessed Is The Man 3:27
Исполнение:
Estonian National Opera Symphony Orchestra, conductor Arvo Volmer


Доп. информация (не смог найти на русском):

Cyrillus Kreek (1889-1962) comes from a family of school teachers at Saanika, Vхnnu, Ridala parish, Lддnemaa (West Estonia). He received his musical education at the St. Petersburg Conservatoire in trombone and composition between 1908 and 1916. His subsequent life was comprised of teaching at Haapsalu, at the Rakvere Teachers' Seminar (1919/1920), at the Tartu Music College (1920/1921) and at the Tallinn Conservatoire (1940/1941, 1944-50, professor since 1947).

With support from the Estonian Students' Society and under the leadership of Dr. O. Kallas, a systematic collection of Estonian folk tunes was carried out in 1904-1916. Kreek joined in the collection in 1911 (in 1914 he started collecting folk tunes by means of a phonograph, being the first Estonian to do so), later he continued on his own. He also copied the materials of other collectors. The folk music files of Cyrillus Kreek contained about 6,000 tunes. The composer became one of the finest connoisseurs of the folk music of his time, with a deep understanding of its nature. The major part of Kreek's work - choral music - is based on folk music or is derived from it. Kreek has consistently used vernacular devotional song (the popularly sung versions of chorales). Kreek has, with extraordinary mastery, transcribed folk tunes polyphonically (e.g. "Our Master" 1918, "In the Lane Outside My Home" 1921), the composer has regularly combined religious folk melodies with polyphony.

Notebook 1 was completed at Haapsalu from April 1916 to December 1917, the best part of Notebook 2 - in 1918, and the last entries were made at Rakvere in the winter of 1919/1920.

Герберт Хоуэллс: Реквием



Страна: Англия
Жанр: Реквием
Год выпуска: 1999
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 01:15:53
Трэклист:

Magnificat & Nunc dimittis
Like as the Hart
Paean
Requiem
Long, Long Ago
Office of Holy Communion (Collegium Regale)
Rhapsody No. 3 for Organ
Take him, earth, for cherishing


Доп. информация (на русском не найдена):

Herbert Norman Howells CH (17 October 1892 – 23 February 1983) was an English composer, organist, and teacher.

Howells was born in Lydney, Gloucestershire, and was the youngest of six children born to Oliver and Elizabeth Howells. His father was an amateur organist, and Herbert himself showed early musical promise. He studied first with Herbert Brewer at Gloucester Cathedral, as an articled pupil alongside Ivor Novello and Ivor Gurney, the celebrated English songwriter and poet, with whom he became great friends. Later he studied at the Royal College of Music under C.V. Stanford, Hubert Parry and Charles Wood.

In 1915 he was diagnosed with Graves' disease and given six months to live. Since doctors believed that it was worth taking a chance on a previously untested treatment, he became the first person in the country to receive radium treatment. He was briefly assistant organist at Salisbury Cathedral in 1917, though his severe illness cut this appointment short; he later served as acting organist of St John's College, Cambridge during World War II.

In his twenties and thirties his compositional output focussed chiefly on orchestral and chamber music, including two piano concertos. The hostile reception given to the second of these in 1925 largely silenced Howells' compositional activities for almost ten years. A further blow came with the death of his son, Michael, from polio (or meningitis; accounts vary) in 1935, which deeply affected Howells. It did, however, appear to unleash a new period of creativity; both Howells himself and his music were never the same after this period of his life. Though not an orthodox Christian, he became increasingly identified with the composition of religious music, most notably the Hymnus Paradisi for chorus and orchestra. This was composed after his son's death but not released for performance until 1950, at the insistence (according to Howells' own account) of his close friend and mentor Ralph Vaughan Williams. It incorporates passages from the earlier unaccompanied Requiem, begun before Michael's death but not published until 1981, with a dedication to his memory. Again, this private account of grief remained in his desk drawer for forty years before he submitted it for publication.

Hymnus Paradisi was the first of four large-scale sacred choral works. His Missa Sabrinensis is on the same scale, in terms of length and forces required, as Beethoven's Missa Solemnis, while An English Mass is scored for significantly smaller forces, is performed almost entirely in English, and follows the Anglican tradition of placing the Gloria last. Finally, Howells' setting of the Stabat Mater, at about 50 minutes, is one of the longest extant settings of that text.

Howells is particularly known for his large output of Anglican church music, including a complete Service for King's College, Cambridge (the Collegium Regale) and settings of the Magnificat and Nunc dimittis for the choirs of St John's College, Cambridge, New College, Oxford, Westminster Abbey, Worcester, St Paul's, and Gloucester cathedrals, as well as for two parish churches, St Mary Redcliffe, Bristol and St Augustine's Church, Edgbaston. These settings are often tailored for the building after which they are named. For example, the St Paul's Service has a very slow rate of harmonic change to suit the prolonged reverberation in that cathedral. The motet Take Him, Earth, for Cherishing, written shortly after the assassination of President John F. Kennedy, is dedicated to Kennedy's memory, and is considered by many to be perhaps his finest a cappella anthem. Two other anthems, 'Like as the hart' and 'Pray for the Peace of Jerusalem' are similar in style and rhapsodic beauty and enjoy a firm and deserved place in the Anglican choral repertoire.

He wrote two works for brass band: Pageantry and Three Figures. Pageantry was written for the 1934 British Open brass band championships. Howells arranged its first movement, King's Herald, for full orchestra for the coronation of King George VI in 1937.

In later life he was awarded an honorary doctorate from Cambridge University, and was made a Companion of Honour in 1972. He died in 1983 in London. He was godfather to the cellist Julian Lloyd Webber. His daughter Ursula (1922 - 2005) was an actress.

Курт Вейль: Берлинский Реквием



Страна: Германия
Жанр: Реквием
Год выпуска: 1992
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 54:20
Трэклист:

Vom Tod im Wald, op.23 (1927). Кантата для баса и десяти духовых инструмертов.
Konzert fur Violine und Blasorchester, op.12 (1925). Концерт для скрипки и духового ансамбля.
Das Berliner Requiem (1928). Для тенора, баритона, мужского хора, духового ансамбля, гитары, банджо и ударного инструмента

Исполнение:

Alexandre Laiter, тенор
Peter Kooy, бас
Elisabeth Glab, скрипка
Choeur de La Chapelle Royale Ensemble Musique Oblique
Дирижер Philippe Herreweghe


Доп. информация:

Курт Вейль родился в 1900 г. в Дессау. Писал камерную и оркестровую музыку.

Известность композитору принесло сотрудничество с Бертольдом Брехтом. В этом союзе два мастера развили стиль и формы так называемого "эпического театра" - театра с яркой социально-критической направленностью. Первой крупной совместной работой стала постановка "Трёхгрошовой оперы" (1928), музыка которой за короткое время облетела весь мир.

В 1927 году на фестивале в Баден-Бадене был поставлен скетч Брехта - Вейля "Махагони-опера". Махагони - город благополучия и радости, которые покупаются за деньги. Есть лишь одно преступление, за которое можно попасть на электрический стул, - это отсутствие денег. Представление окончилось скандалом, после чего скетч был переработан в трёхактную оперу "Возвышение и падение города Махагони" (1930). Дерзкая пьеса Брехта с агрессивной музыкой Вейля, подчёркивающей остроту текста вульгарно-экстравагантной мелодией, завоевала громкую скандальную славу.

Эти пьесы, направленные против социальной коррупции, вызвали беспорядки во время постановки.

Вейль пытался развивать новые формы музыкального театра, умело используя современные ритмы и прибегая к простейшим музыкальным средствам.

В 1933 году Вейль эмигрировал в Париж, а в 1935, с приходом к власти нацистов, уехал в Америку. Здесь он писал музыку для Бродвея. Известна его антивоенная музыкальная пьеса "Джонни Джонсон" (1936). Своим творчеством Вейль способствовал развитию мюзикла как нового жанра. Остросатирический стиль композитора включает элементы современной бытовой песни, модных танцев, джаза, экспрессионистской гармонии. В 1943 году принял гражданство США.

Важнейшие сценические произведения Вейля : "Протагонист" (1926), "Пале Рояль" (1927), "Трёхгрошовая опера" (1928), "Царь фотографируется" (1928), "Счастливый конец" (1929), "Человек, всегда говорящий "да" (1930), "Возвышение и падение города Махагонии" (1930), "Гарантия" (1932), "День отдыха никерброкера" (1938), "Леди в темноие" (1942), "Одно прикосновение Венеры" (1943), "Уличная сцена" (1947), "Внизу в долине" (1948), "Потерян в звёздах" (1949)

Морис Дюруфле: Реквием



Страна: Франция
Жанр: Реквием
Год выпуска: 1992
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 01:10:56

Трэклист:
Requiem, Op. 9
Quatre Motets sur des themes gregoriens, Op. 10
Messe Cum Jubilo, Op. 11

Исполнение:
S:t Jacobs Kammarkor
Peter Mattei, bariton
Paula Hoffman, mezzosopran
Mattias Wager, orgel
Elemer Lavotha, cello
Dirigent - Gary Graden


Доп. информация:

Durufle was born in Louviers, Haute-Normandie.

In 1912, he became chorister at the Rouen Cathedral Choir School, where he studied piano and organ with Jules Haelling. At age 17, upon moving to Paris, he took private organ lessons with Charles Tournemire, whom he assisted at Ste-Clotilde until 1927. In 1920 Durufle entered the Conservatoire de Paris, eventually graduating with first prizes in organ, harmony, piano accompaniment, and composition.

In 1927, Louis Vierne nominated him as his assistant at Notre-Dame. Durufle became titular organist of St. Etienne-du-Mont in Paris in 1929, a position he held for the rest of his life. In 1939, he premiered Francis Poulenc's Organ Concerto (the Concerto for Organ, Strings and Timpani in G minor); he had advised Poulenc on the registrations of the organ part. In 1943 he became professor of harmony at the Conservatoire de Paris, where he worked until 1970. In 1947, Durufle wrote what is probably the most famous of his very few pieces: the Requiem op. 9, for soloists, choir, organ and orchestra. The same year, Marie-Madeleine Chevalier became his assistant at St-Atienne-du-Mont. They married in 1953. The couple became a famous and popular organ duo, going on tour together several times throughout the sixties and early seventies.

Durufle suffered severe injuries in a car accident in 1975, and as a result he gave up performing; indeed he was largely confined to his apartment, leaving the service at St-Etienne-du-Mont to his wife Marie-Madeleine (who was also injured in the accident). He died in Louveciennes (near Paris) in 1986, aged 84.

As a composer, Durufle was extremely self-critical. He only published a handful of works and often continued to edit and change pieces after publication. For instance, the Toccata from Suite, op. 5 has a completely different ending in the first edition than in the more recent version, and the score to the Fugue sur le nom d'Alain originally indicated accelerando throughout. The result of this perfectionism is that his music, especially his organ music, holds a very high position in the repertoire.

Эдуард Тубин: Реквием по павшим солдатам



Страна: Эстония / Швеция
Жанр: Реквием
Год выпуска: 1989
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 59:13

Трэклист:

Реквием по павшим солдатам. (1979)
Исполнение:
Lund University Male Choir
Kerstin Lundin, Alto
Hakan Hardenberger, Trumpet
Janake Larson, Organ
Helmut Sitar, Timpani

10-я Симфония. (1973)
Исполнение:
Gothenburg Symphony Orchestra - Neeme Jarvi


Доп. информация:
Тубин Эдуард [р. 5(18).6.1905, г. Калласте, Тартуский район], эстонский композитор и дирижёр. В 1930 окончил тартускую Высшую музыкальную школу по классу композиции у Х. Эллера. В 1930-44 был репетитором и дирижёром театра "Ванемуйне" (Тарту); также дирижировал хорами. С 1944 живёт в Швеции, до 1972 работал в театре Дротнингхольм. Творчество Т. тесно связано с эстонской народной музыкой. Автор первого эстонского балета "Кратть" ("Домовой", поставлен 1943, театр "Ванемуйне"), сюжет которого основан на эстонских народных сказках, опер "Барбара фон Тизенхузен" (поставлена 1969, театр "Эстония", Таллин), "Пастор из Рейги" (1971), 10 симфоний (1934-73) и др. произведений для симфонического оркестра, концертов для инструментов с оркестром (2 - для скрипки, 1941, 1945; для контрабаса, 1948), камерно-инструментальных, хоровых сочинений и песен.

Вагн Холмбу: Реквием по Ницше



Страна: Дания
Жанр: Реквием
Год выпуска: 2002
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 51:44

Трэклист:

Реквием по Ницше
Исполнение:
Danish National Choir / DR
Johan Reuter, baritone
Helge Ronning, tenor

Danish National Symphony Orchestra / DR
Дирижер Michael Schonwandt

Насколько мне известно данная запись является единственной записью данного Реквиема, по крайней мере в 2002 г. она являлась премьерой. Данный диск был удостоен именитых наград:

GRAMOPHONE EDITOR'S CHOICE
GRAMOPHONE CRITIC'S CHOICE 2002
Pizzicato Excellentia Award
BBC Music Magazine 5 stars
Fanfare, The Want List 2002
10/10 (ClassicsToday)

Мастхэв для всех любителей классической музыки в целом.


Доп. информация:

The Danish composer, Vagn Holmboe, was born at Horsens in East Jutland on 20 December 1909. His background was a musical one. Both parents were amateur musicians - both pianists. His father was a maker of colours and lacquers.
Young Holmboe took violin lessons from age 14. At first his creativity seemed to be directed towards painting but this resolved into music. It was at the recommendation of Carl Nielsen that Holmboe began his studies at Copenhagen's Royal Danish Music Conservatory in 1926. There his tutors were Finn Hoffding (composition) and Knud Jeppesen (musical theory).
After completing his studies he moved to Berlin in 1929 where Ernst Toch became his teacher, though only briefly. During his time in the German capital he met the Romanian pianist Meta May Graf, whom he was to marry five years later. It was, no doubt, this Romanian connection that resulted in a visit by Graf and Holmboe to Meta's home country in 1933-34. There the two visited obscure and remote villages and studied Transylvanian folk-song. The contours and lilt of folk-song (not specifically Rumanian) were to infuse his music in years to come. In this context valid parallels with Vaughan Williams and Kodaly can be made although his music is utterly individual.
On their return to Denmark Holmboe gave music lessons privately and composition began to possess him. Many of these early pieces have never been performed. Some of them were used as a ready 'quarry' for ideas and thematic material in years to come. He also continued to pursue his studies of folk-song with much field-work throughout Denmark. His interests in what Grove calls Musical Anthropology also bore fruit in many overtly folk-linked compositions including the Inuit Songs.
The period 1940-49 (encompassing the years of the German occupation) saw him holding a teaching position at the Royal Danish Institute for the Blind. Journalistic criticism also occupied him and his reviews appeared in the newspaper, 'Politiken'. He taught at Copenhagen Institute (1950-65). His study of modern music ('Mellemspil' i.e. 'Interlude') was published in 1966.
In an act characteristic of the enlightened attitude of the Scandinavian states, the Danish Government extended to him a lifetime grant.
He has to his name 13 symphonies, more than ten string quartets and chamber concertos and all of these have been recorded. There are many other works awaiting first recording and as each appears more riches are revealed. In a century's time the comparative standings of Holmboe and Nielsen may well have changed.
His music is tonal and based on fragments of melody. Traces of Sibelius, Nielsen, Shostakovich and Janacek can be discerned. His works are almost always approachable (Symphony No. 9 alone amongst the thirteen, presents a stern and unyielding face) and are often driven by grand philosophical motivations, eternal verities, conflict and peaceful resolutions. His music shares with that of Nielsen and Sibelius an expression of grand concepts without (in general) presenting an obscure facade to the listener.
His publisher is Wilhelm Hansen whose enviable good judgement (all too rare amongst publishers) extended to permitting BIS to record all 13 symphonies without demanding fees.
The abstract photographs taken by Meta Holmboe decorated the BIS series when first issued. One of those abstracts now adorns the cover of the present box.
Holmboe died on 12 September 1996 typically while at work on one of his long series of string quartets

Хенрик Миколай Гурецкий: Маленький Реквием



Страна: Польша
Жанр: Реквием
Год выпуска: 1996
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 57:14

Трэклист:

Three Pieces in Old Style for String Orchestra:
1. First Piece
2. Second Piece
3. Third Piece

Kleines Requiem fur eine Polka:
4. I. Tranquillo
5. II. Allegro Impetuoso-Mareatissimo; Lento cantabile
6. III. Allegro - Deciso assai
7. IV. Adagio - Cantable

Good Night:
8. I. Lento (Adagio) - Tranquillo
9. II. Lento tranquillissimo-cantabilissimo
10. III. Lento-largo; Doleissimo-cantabilissimo

Исполнение:
I Fiamminghi, дирижер Rudolf Werthen


Доп. информация:
Генрик Миколай ГУРЕЦКИЙ – это выдающийся композитор, который своей музыкой прославляет имя Польши во многих странах. В декабре 2003 года ему исполнилось 70 лет. Он принадлежит к кругу наиболее известных в мире польских современных композиторов, таких, как: Витольд Лютославский, Кшиштоф Пендерецкий или Войцех Киляр. После памятного 1956 года они стали создавать новую музыку и молниеносно покоряли концертные залы. Критики очень рано заметили композиторскую личность Гурецкого. Еще в студенческие годы он представил свой монографический концерт в Государственной высшей музыкальной школе в Катовице. Это было первое в истории такого типа выступление. После окончания Музыкальной академии в Катовице он начал работать научным сотрудником этого вуза, а затем на некоторое время стал его ректором.

Гурецкий обратил на себя внимание в 1958 году на фестивале современной музыки "Варшавская осень", во время которого исполнялось его произведение "Эпитафия". Год спустя в программе фестиваля оказалась 1-я симфония композитора. А в 1960 году музыкальная критика признала Гурецкого радикальным представителем молодого авангарда. Его сочинения отличаются стройностью формы, ритмическим разнообразием, яркостью колорита, драматизмом и экспрессией. Музыковеды разделяют богатое творчество Генрика Миколая Гурецкого на несколько этапов. Первый из них относится к 60-м годам. Его музыка того времени характеризуется очень скромным музыкальным оформлением, вызывающим однако интенсивные эмоции. Здесь следует отметить цикл его композиций "Генезис". В свою очередь декада 70-х годов ХХ-века изобиловала крупными музыкальными произведениями. Гурецкий написал в 1972 году 2-ю симфонию в честь Николая Коперника, а четыре года спустя 3-ю симфонию, которая принесла ему самую большую популярность. Это "симфония печальных песен". Однако настоящего открытия 3-я симфония ждала очень долго до 1992 года, когда это произведение записала London Sinfonietta под управлением Давида Зинмана. Это был уже четвертый диск с записью этого произведения, но только альбом фирмы Elektra Nonesuch добился настоящего успеха. 3-я симфония Генрика Гурецкого вошла в мировой хит-парад, а число проданных альбомов с записью этого произведения превысило один миллион экземпляров. До того времени такие рекорды популярности были свойственны только в отношении хитов эстрадной музыки.
Польский композитор получил ряд важных наград за свое творчество. Одной из них является премия Польского радио, за бескомпромиссность в искусстве. А что об этом думает сам композитор...

Генрик Гурецкий: "Искусство это не бизнес. Однако многим авторам, не только композиторам, кажется, что оно - однако бизнесс. Уже мои великие предшественники обращали внимание на то, что искусство это не бизнес, это не мода. Это понятно, что на авторов делается разного рода нажим, но только от них самих зависит, удастся ли сформировать их по-другому или же нет".

После 3-й симфонии печальных песен Генрик Миколай Гурецкий обратился к сакральной музыке. По заказу кардинала Кароля Войтылы, нынешнего папы римского, он написал, в частности, псалм "Беатус вир", приуроченный к празднованию 900 годовщины смерти святого Станислава. Кроме симфонических произведений и вокальной музыки компрозитора интересовала также камерная музыка. Для американского струнного квартета "Кронос квартет" он написал в 1988 году первый струнный квартет, а через два года – второй. После бурного успеха третьей симфонии Генрик Миколай Гурецкий стал героем средств массовой информации. Несколько лет назад английский престижный журнал "Гардиан" опубликовал список десяти симфоний всех времен. 3-я симфония Гурецкого оказалась на 4 месте в этом списке. Опередили ее только произведения Бетховена, Моцарта и Малера. Это также большой медийный успех, который является несомненно источником удовлетворения и счастья композитора.

Генрик Гурецкий:"Если бы я сказал, что нет, то я совершил бы большую ошибку. Я не могу жаловаться, хотя – как каждому человеку – хотелось бы еще больше. Такова человеческая натура. В принципе я должен ежедневно благодарить Господа Бога за то, что у меня есть. Я человек счастливый. Я никогда ни у кого не просил, чтобы исполняли мою музыку. Люди хотят её слушать и поэтому каждый концерт доставляет мне большое удовольствие. На своём пути я встречаю доброжелательных людей. Мне уже требовать нечего. И это уже счастье."

По случаю 70-й годовщины со дня рождения Генрика Миколая Гурецкого в городе Бельско-Бяла состоялся 8-й Фестиваль польских композиторов, который был полностью посвящен творчеству этого композитора. В свою очередь в Катовице в день рождения композитора состоялось крупное музыкальное мероприятие, во время которого исполнялись все произведения юбиляра. Польское радио объявило 6 декабря днем музыки Генрика Миколаа Гурецкого

Йонас Кокконен: Реквием



Страна: Финляндия
Жанр: Реквием
Год выпуска: 1991
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 01:18:30
Трэклист:
Symphony No.4 (1971)
Sinfonia da camera (1961-62)
Requiem (1981)

Исполнение:
Soile Isokoski, сопрано.
Walton Gronroos, баритон
Savonlinna Opera Festival Choir под управлением Olli Tuunanen
Lahti Symphony Orchestra, дирижер: Ulf Soderblom (Симфония и синфония); Osmo Vanska (Реквием)


Доп. информация:
Кокконен (Kokkonen) Йонас (р. 1921), композитор. Один из главных представителей современной финской музыки. Опера "Последние искушения" (1975), симфонии (наиболее значительны 3-я и 4-я - 1967, 1971) и др. сочинения для оркестра, квартеты, месса (1963). Профессор Музыкальной академии им. Я. Сибелиуса в Хельсинки (с 1959).

Освалдас Балакаускас: Реквием в память Стасиса Лозораитиса



Страна: Литва
Жанр: Реквием
Год выпуска: 2004
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 52:56
Трэклист:
Реквием в память Стасиса Лозораитиса (1995)

Исполнение:

Judita Leitate (mezzo)
Vilnius Municipal Choir Jauna Muzika/Vaclovas Augustinas
Christoph Chamber Orchestra of Vilnius/Donatas Katkus
Rec. Lithuanian Radio, 6-10 Feb 2003



Доп. информация: И опять нет информации на русском

Osvaldas Balakauskas (b. 1937) trained in the Music Faculty of the Vilnius Pedagogical Institute (1957-1961), and later studied composition with Boris Lyatoshinsky at the Kiev Conservatoire (1964-1969). Since 1972 he has lived in Vilnius. From 1988 to 1992 he was a member of the council of the "Sajudis" (Lithuanian independence movement). From 1992 to 1994 he served as the Ambassador of Lithuania - the first after 50 years of foreign rule - to France, Spain and Portugal (residing in Paris). From 1988 to 1992 and from 1994 to 2006 he has been Head of the Composition Department of the Lithuanian Academy of Music and Theatre. In 1996 Balakauskas was honoured with the Lithuanian National Prize, in 1998 with the Order of the Grand Duke of Lithuania Gediminas (3rd level).

His music is regularly performed at various festivals in Lithuania and abroad: Moscow Stars (1982), Warsaw Autumn (1987, 1993, 1994, 1997, 2000, 2002), 3rd International Festival of Leningrad (1988), Berlin Biennale, Zagreb Biennale (1989), Berliner Festwochen, Prague Spring (1991), World Music Days (1992, Warsaw), Schleswig-Holstein Festival (1992), Europa Musicale (1993, Munich), Wratislavia Cantans (1995), New Haven International Festival of Arts and Ideas (1996), Vale of Glamorgan (1996), MaerzMusik (2003, Berlin).

In 1997 the Cracow Academy of Music published a collection of essays "W kregu muzyki litewskiej" ("Within the Circle of Lithuanian Music"), which included first publication of Osvaldas Balakauskas' theoretical study "The Method of Progression by Fifths", the first of four parts comprising his "Dodecatonic. Modal and harmonic possibilities of the equally tempered 12-tone scale". The same part was reprinted in the book "Osvaldas Balakauskas. Music and Thoughts" published in 2000 by "Baltos lankos", Vilnius, a comprehensive collection of articles, interviews and essays dedicated to the personality, musical and literary output of the composer. To date, Osvaldas Balakauskas' discography includes 5 portrait CDs of his music.

Osvaldas Balakauskas belongs to those composers, not very numerous nowadays, whose ambition is the creation of their own precise musical system. His career has been significantly influenced by his period of studies in Kiev in the 1960's and the circle of the Ukrainian avant-garde of the time. His fascination with Stockhausen, Boulez, Xenakis and especially Webern and Messiaen also dates back to those years. His technique of composition developed in two directions:

towards a specific serialism when series is merely a regulator of transpositions, so that the question of what is being transposed becomes fundamental. For Balakauskas, a group of tones, a chord, a group of chords, special scales, or even a fragment of already written (stylistically recognizable) music may serve as an object of transposition;
towards new diatonicism by exploring 8-, 9-, 10- and 11- tone diatonic systems with their inherent structure. This is elaborated in Balakauskas' theoretical study "Dodecatonics", the first part of which has been published by the Music Academy of Cracow.
New harmonies (particularly on the octatonic and enneatonic patterns) in combination with the rhythmic systems originating from Blacher, generate a peculiar, intriguing sound-climate, which is recognizable as "Balakauskas' tonality".

Томас Беверидж: Памятный Реквием (Yizkor Requiem)



Страна: США
Жанр: Реквием
Год выпуска: 2005
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 52:58

Трэклист:
Yizkor Requiem (1994)

Исполнение:
Ana Maria Martinez (soprano),
Elizabeth Shammash (mezzo-soprano),
Robert Brubaker (tenor)
Rabbi Rodney Mariner (speaker)
Academy and Chorus of St. Martin in the Fields, Sir Neville Marriner


Доп. информация (на русском не найдена):
The American composer Thomas Beveridge has had a distinguished professional career as singer, conductor, instrumentalist and teacher, in addition to his activity as a composer. At Harvard he studied composition with Randall Thompson and Walter piston, proceeding to further study with Nadia Boulanger, with whom he also performed in Europe. He first attracted attention in late adolescence when his choral works were performed by the Harvard Glee Club and Radcliffe Choral Society and published by E.C. Schirmer. He has written more than 450 works in all musical genres, including three symphonies and more than 150 songs. His cantata Once: In Memoriam Martin Luther King, Jr. was commissioned by the Choral Arts Society, which also recorded the work under the direction of Norman Scribner.

Оливер Грейф: Соната для Реквиема



Страна: Франция
Жанр: Реквием
Год выпуска: 2006
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 01:02:09

Трэклист:
Sonate de Requiem Op. 283 для виолончели и фортепьяно.
Trio for piano, violin & cello

Исполнение:
Emmanuelle Bertrand (cello), Pascal Amoyel (piano) & Antje Weithaas (violin)


Доп. информация (на русском не найдена):

OLIVIER GREIF was born in Paris and died there. As a student at the Conservatoire National Supérieur de Musique in Paris he was as brilliant as he was precocious, obtaining first prize for chamber music (Jean Hubeau), composition (Tony Aubin) and orchestration (Marius Constant), and second prize for piano (Lucette Descaves). In 1969 he completed his studies in composition in New York with Luciano Berio (then a teacher at the Juilliard School), subsequently becoming his assistant. At this period he associated with a number of artists, among them Salvador Dali.
His double career as composer and pianist led him to perform in many European countries, as well as in the U.S. and in Japan.
During the 1970s, Olivier Greif taught composition, analysis and chamber music at the Académie-Festival des Arcs, which he directed from 1983 to 1986. In 1978 and 1979 he also taught at Annecy for the Pâques Musicales. At the height of this first part of his career, the Paris Opera and IRCAM commissioned the chamber opera Nô, premiered in 1981 at the Georges Pompidou Centre for the Paris Autumn Festival.

In 1976, Olivier Greif embarked on a spiritual quest which was to last more than twenty years. He attached himself to an Indian guru living in New York, making frequent trips to the United States and other parts of the world as a consequence.
In 1978 he was given the name 'Haridas' ('servant of God' in Sanskrit). This withdrawal into an inner life, in response to a profound spiritual aspiration, resulted in the suspension of his personal musical creativity for some 10 years, following the Sonate de Requiem, Le Livre du Pèlerin and the opera Nô. During these years he made numerous polyphonic arrangements of Indian devotional songs.
His musical career gradually resumed in the course of the 1990's, with commissions from Radio France and from various music festivals in France (La Prée, Deauville, Cordes-sur-Ciel) and abroad (Kuhmo, Warsaw, Berlin), etc., reaching a peak at the time of his sudden death.
Spurred on by a sense of urgency, he produced a series of magnificent works in the last months of his life. Even without those that he was unable to bring to completion (a symphony, a large-scale Vêpres and other substantial orchestral and choral works he had either been commissonned or had planned), he left a sufficient body of major compositions - from the Chants de l,Ame to the Requiem - to satisfy the most demanding and diverse criteria.
Olivier Greif wrote more than a hundred works, dating back to 1961. As well as the recordings of both composer and pianist currently available, a great many radio and other recordings of concerts and interviews bear witness to his achievements as a composer, his numerous performances as a pianist, and his profound and subtly caustic observations.
Though a French composer, he no doubt owed to his Polish and Jewish origins a broader, more fluid conception of his self and of his art. Everything about Olivier Greif was exceptional. To the end, there were still traces of the child prodigy that he had once been. Every manifestation of homo musicus was so natural to him that it verged on the supernatural. As well as being an inspired and prolific composer, he was a pianist of inexhaustible resources and an astounding sight-reader: a visionary.
Yet, for this born musician, the mystical call of silence proved, during long years, the strongest. Composing, playing, meditating, writing hundreds of pages of his private diary, apparently for him involved the same activity of the spirit. The musician, nonetheless, took the lead again, composing powerful works whose inspiration and titles are often tragic, haunted by the spectre of death. Most of them are, however, illuminated by the intuition - ecstatic, incantatory or hymn-like - of a possible sublimation; when it is not their vivid colour and humour and furious rhythms that chase away black thoughts.
Though he received his musical training in Paris, this Frenchman, whose family origins were in the more culturally mixed regions of central Europe, early on felt 'foreign' in relation to those qualities considered typically French - perfection, concision, restraint - and likewise to the prosody of his native tongue. He felt more at ease with German and English, or even with Latin, which he discovered late, when writing one of his last compositions, the Requiem.
His music combines a profusion of original ideas and allusions, religious (Hebrew or Gregorian chant, Lutheran chorales, Anglican hymns) and secular (melodies from every country and period), polyphonically intermingled. Difficult and complex, these scores demand a total commitment from their performers. The piano was at first Olivier Greif's workshop: 'My thought was not only expressed by the piano, it was conceptualized by it' (Piano magazine, 1998); but, fundamentally eloquent, his music often had recourse to words, with a preference for English.
Olivier Greif's clearest affinities lie with Mahler, Britten and Shostakovitch, but he never forgot Beethoven, the 'creator' par excellence. His extraordinary instinct, coupled with the perfect technique acquired during his youth, enabled him to feel free from any academicism, conservative or avant-garde. What he sought was a total art form, at the crossroads of the past and the future, the erudite and the popular. He aspired to an authenticity of expression, independent of every kind of aesthetic trend or fashion.

Рагнар Гриппе: Реквием



Страна: Швеция
Жанр: Реквием
Год выпуска: 1996
Формат: APE (image + .cue)
Битрейт аудио: lossless
Продолжительность: 01:10:56

Трэклист:
Реквием / Requiem (1994/95)
Движущиеся духи / Shifting Spirits (1996)

Исполнение:
Madeleine Kristoffersson, сопрано
Ragnar Grippe, сам композитор за ситнезатером


Доп. информация:
Ragnar Grippe

Born
15 October 1951 in Stockholm

Education
Cello studies with Gustav Gröndahl at the State Academy in Stockholm (1966-1969), architectural history at the University in Aix-en-Provence(from 1970), musicology at the Universityof Stockholm (1971-1972), electronic music at the Electronic Music Studio Stockholm and at the Groupe de RecherchesMusicales de l'ORTF (GRM) in Paris. He studied composition with Luc Ferrari between 1973 and 1975 and in the following year at McGill University in Montreal (studies with Bengt Hambraeus). He is an active lecturer and lives and works mostly in France.

On his music
In the early years Ragnar Grippe composed mainly tape music. Experiment is the keyword for these compositions. From the early eighties his compositions integrate influences from traditional and pop music, obvious in his Ten Temperaments. Grippe worked closely with choreographers and filmmakers to produce an extensive output of incidental music.
Apart from electronic music Ragnar Grippe also composed many instrumental and electro-accoustic works, including orchestral works and operas. In his youngest compositions the accent has been on music for 'big audiences', such as his popular Requiem. Many of these works are, to my taste, on the border of 'kitsch'.