Tempete

I discovered Rachmaninov’s ‘Vespers’ singing in a choir, and the work made a genuine emotional impact on me! This music gives off an impression of naturalness and ‘simplicity’, yet in fact its architecture is complex and innovative for its time in the quasi-orchestral treatment of the voices. I wanted to place the work in a liturgical context that I conceived by drawing my inspiration from the Orthodox ceremonies I have been lucky enough to attend in Russia and Romania. The special characteristic and the beauty of this Vigil service (which in the Orthodox churches includes both Vespers and Matins) is that it accompanies the prayers of the faithful from dusk until sunrise.

This fourth studio album and seventh release on Sub Rosa embraces the new. Leaving aside for a while the logbooks of long journeys and the field recordings of the previous albums, the music of Oiseaux-Tempête unfolds as a twilight and prophetic orchestra around G.W. Sok's punctuated voice.

Here are the Monteverdi Vespers as you’ve never heard them before! ‘I see these Vespers as a great incantatory ritual that connects the sacred with the pagan, the intimate with the collective. I experienced this powerful sensation many times in my childhood, in the choir of an abbey: the intense, warm light of a late summer day, filtering in from the west and reflected all the way up to the choir’, says Simon-Pierre Bestion. The founder of La Tempête has made very personal choices for this recording, notably concerning the composition of the orchestra, which he has enriched with instruments from different cultures, including the serpent and the chitarrone. He has added ‘fauxbourdons’, simple improvised chants deriving from folk tradition. The colours of the voices in these Vespers are also very unusual: Bestion follows in the tradition of oral polyphony as it still exists in Corsica, Sardinia and Georgia.

Tous ces poulains, j'ai assisté à leur naissance, c'était ma grande passion. Et aujourd'hui encore, malgré tout ce qui m'est arrivé, c'est ce qui m'intéresse le plus : le prochain poulain à naître. Le voir se lever, hésitant, trébucher, se coller à sa mère, téter, tout ça, et puis courir, et grandir, et bientôt gagner une course, avant de donner naissance à d'autres poulains, et ainsi de suite. Certains chevaux deviennent des cracks, il suffit de les faire courir, ils vont plus vite que les autres. Pourquoi ? C'est un mystère. …

Mégafeux, tempêtes ultrapuissantes, orages et déluges, grandes avalanches ou tremblements de terre : la nature a ses colères et John Muir les a toujours goûtées, observées, presque recherchées. Grand marcheur et magnifique écrivain, ce pionnier de l’écologie fut, au tournant du XXe siècle, leur interprète le plus fin. Son empathie était totale : il était le feu, l’arbre, il était la bourrasque et la neige, il était l’éclair. …

Commemorating the 25th anniversary of one of the worst natural disasters in Quebec's history while celebrating the courage and collective humanity that emanated from it, Ice Storm Symphony (Symphonie de la tempete de verglas) takes the listener into a whirlwind of music by Quebecois composer Maxime Goulet. The program features Orchestre classique de Montreal under the direction of Jacques Lacombe performing three of Goulet's compositions: Fishing Story, What a Day, and the title work.

Ernest Chausson’s death in 1899 in a bicycle accident robbed French music of a major talent. Almost his entire orchestral output fits on this extremely fine CD. Yan Pascal Tortelier’s performance of the richly romantic Symphony is the best since Munch’s Boston Symphony recording. Like Munch, Tortelier knows how to keep the music moving along–he’s only an insignificant two minutes slower than Munch for the whole work–without overindulging the more luscious moments, which in Chausson’s opulent setting really do take care of themselves. Even better, rather than some overplayed encore piece by another composer, the symphony is coupled with two very attractive, rarely heard tone poems and two charming orchestral excerpts from the composer’s incidental music to Shakespeare’s The Tempest. The orchestra plays with conviction, Chandos’ sonics are gorgeous, and if you don’t buy this disc, you’re missing out on some marvelous stuff.