Clarion 2.2.2

Cecil Taylor - The Owner of the River Bank (2003) {Enja Records ENJ-9465 2 rec 2000}
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© 2000, 2003 Enja Records | ENJ-9465 2
Jazz / Post Bop / Modern Creative / Piano

The single piece by Cecil Taylor lasts an hour. It was recorded during the second of two concerts given to celebrate the first ten years of the Italian Instabile Orchestra. This was part of the Talos Festival in Ruvo di Puglia, in Southern Italy, on September 10, 2000. From the sounds of an orchestra warming up, to a subdued conclusion that rumbles deeply and insignificantly, Taylor’s piece takes his audience on a journey through scenery that changes gradually and often. Indistinct human voices can be heard along the way; so can the sounds of trumpet valves clacking, saxophone keys tapping, reed mouthpieces chattering, brass mouthpieces kissing, and tympani rolling along.

When recording Bach's 199 sacred cantatas, various strategies have been employed to impose meaningful order on them. There's the "everything from BWV 1 to BWV 199" approach, the "everything in the church year" approach, and the less frequently employed "everything in chronological order" approach, adopted here by the Purcell Quartet. In this the second volume in the series, the four works come from Bach's Weimar period, specifically from 1714 and 1715: Weinen, Klagen, Sorgen, Zagen, BWV 12 (Weeping, sighing, sorrowing, crying); Gleichwie der Regen und Schnee vom Himmel fällt, BWV 18 (For as the rain and snow fall down from heaven); Nun Komm, der Heiden Heiland, BWV 61 (Now come, the heathen's Savior); and Komm, du süsse Todesstunde, BWV 161 (Come, sweet hour of my death).

The Clarion Choir and its Artistic Director Steven Fox make their Pentatone debut with a recording of Sergei Rachmaninoff’s choral masterpiece, the All-Night Vigil, demonstrating their exceptional proficiency in Russian repertoire. The All-Night Vigil is an evening service that gradually moves towards daybreak, symbolizing the Resurrection of Christ. This message of light and hope emanating from the darkness is both universal and very topical in the troubled world we find ourselves in. On this recording, many of the movements are preceded by the original Kiev and Znameny chants on which Rachmaninoff based his composition, adding another layer to this mesmerizing piece.