Harmonium/Choruses from the De
- Is Discontinued By Manufacturer : いいえ
- 梱包サイズ : 14.09 x 12.63 x 1.37 cm; 124.74 g
- メーカー : Nonesuch
- EAN : 0075597954920
- SPARSコード : DDD
- レーベル : Nonesuch
- ASIN : B000025AQL
- ディスク枚数 : 1
- Amazon 売れ筋ランキング: - 1,302,588位ミュージック (の売れ筋ランキングを見るミュージック)
If anything, this disc conveys John Adams's ability to make the difficult sound simple and easy. It also extends Nonesuch's tendency to issue rerecordings that appear first in box sets. Harmonium came out in 1984 on an ECM disc, played by the same ensemble but under the direction of Edo de Waart, with whom Adams developed a fruitful working relationship in the late 1970s. The Klinghoffer Choruses simply excerpts the Nonesuch recording of the opera. Both can be found in the John Adams Earbox, the sort of collection that the label has already lavished on Steve Reich.
What makes this disc sound simple is the composer's tasteful West Coast minimalism--its listener-friendly impatience with unvarying repetition; spare, keyboards-enhanced instrumentation; and generally mellow sound. Harmonium remains Adams's breakthrough work, his first big statement of consonant harmony. He became famous with it. What Adams makes apparently easy is the bringing together--the harmonizing, if you will--of disparate parts: very personal lyric poetry by two very different writers, John Donne and Emily Dickinson, sung by a choral group rather than soloists. And it works. Like the Nonesuch recording of Philip Glass's Einstein on the Beach, the new Harmonium has been lovingly performed, but necessarily lacks something of the brazenness, the unexpected quality of the earlier one, the sense of having to prove itself. The choruses from the "CNN opera" The Death of Klinghoffer (certainly a tough subject) slow down stage action significantly; they're more effective on their own. Highly chromatic, delicate, and melancholy, these two works showcase Adams's thoughtful side, and remain unabashedly beautiful. --Robert Burns Neveldine
The choral suite from the controversial opera THE DEATH OF KLINGHOFFER is not a new recording. It is derived from the complete performance of the opera on Nonesuch. Much ink has been spilled over this work, and protests continue up to this day, as the MET prepares to open its new production next month. To try to hear the music separately from any political controversy is difficult. I personally believe that the work is neither anti-Semitic, or even anti-Israeli. It simply tries to paint a balanced picture of the Middle East crisis. The opening scene acknowledges the displacement of Palestinians in 1948 to accommodate European Jews, but immediately, in the second scene acknowledges the historic necessity of the existence of Israel. Although they are given somewhat sympathetic back stories, at no point are the actions of the Achille Lauro hijackers shown to be anything other than totally reprehensible.
What of the music ? It comes across as slightly more subtle than Carl Orff simplicity. It is engaging and attractive, but I suspect that a more harmonically complex musical language would better illuminate the text.
My opinion of the score will be tested by my attendance at the MET in November.