Requiem For My Friend - Preisner / Rewakowicz, Kaspszyk, Sinfonia Varsovia, et al Zbigniew Preisner Jacek Kaspszyk Sinfonia Varsovia Elzbieta Towarnicka Varsov Chamber Choir

Requiem For My Friend - Preisner / Rewakowicz, Kaspszyk, Sinfonia Varsovia, et al [Import] [PR]

Zbigniew Preisner、Jacek Kaspszyk、Sinfonia Varsovia、Elzbieta Towarnicka、Varsov Chamber Choir （Erato）


CD
発売日：1998年9月18日(金)


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曲目リスト ※試聴はAmazonでどうぞ。
  1. Part One Requem: Officium
  2. Part One Requem: Kyrie Eleison
  3. Part One Requem: Dies Irae
  4. Part One Requem: Offertorium
  5. Part One Requem: Sanctus
  6. Part One Requem: Agnus Dei
  7. Part One Requem: Lux Aeterna
  8. Part One Requem: Lacrimosa
  9. Part One Requem: Epitaphium
  10. Part Two Life: Meeting
  11. Part Two Life: Discovering The World
  12. Part Two Life: Love
  13. Part Two Life: Kai Kairos
  14. Part Two Life: Ascende Huc
  15. Part Two Life: Veni Et Vidi
  16. Part Two Life: Qui Erat Et Qui Est
  17. Part Two Life: Lacrimosa - Day Of Tears
  18. Part Two Life: Prayer
レビュー (Amazon)
Known more for his film scores than for his full-length concert works, Zbigniew Preisner injects a good dose of his famed film score methodologies into this recording. Divided into two parts, Requiem and Life, this work is outstanding in its first nine movements, capturing soaring choral blasts that startle and hold the ear steadily, as does the occasional churning organ and the chamber ensemble, which seems to make far more sound than is possible. The Requiem as a whole is also stylistically cleaved in two: Life heads wholeheartedly into the realm of filmic composition (doing so in four episodes). Resolution is always on the horizon, but the musical tensions seem directed toward a visual conclusion, rather than any kind of sonic release or resolution. To that end, the music itself, especially early in Life, is a bit thin. Maybe it's the alto saxophone, which plays simple figures that get washed out in the cavernous audio. Or maybe it's the building march-like cadence of the "Apocalypse "episode, which seems to announce a particular character without ever producing one. Perhaps it's the desire to create mood without exploring the complexities. As film music, this is excellent stuff, easily capable of throwing musical beams on action. As a purely sonic phenomenon, it's sometimes too much, sometimes too little, and only briefly balanced between the two. --Andrew Bartlett
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