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| Athlantis |
| Eyvind Kang |
| első megjelenés éve: 2007 |
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| (2007)
[ DIGIPACK ]
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CD |
| 3.821 Ft
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| 1. | Ministers of Friday
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| 2. | Vespertiliones
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| 3. | Andegavenses
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| 4. | Rabianara
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| 5. | Inquisitio
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| 6. | Ros Vespertinus
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| 7. | Conciliator
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| 8. | Iupitter
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| 9. | Repetitio
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| 10. | Lamentatio
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| 11. | Athlantis
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| 12. | Aquilas
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Jazz
Eyvind Kang - Producer
Alberto Capelli - Guitar (Acoustic), Guitar (Electric), Sitar
Antonio Frezzetti - Tenor (Vocal)
Elisa Bonazzi - Contralto (Vocal)
Gianluigi Paganelli - Tuba (Bass)
Jessika Kenney - Vocals
Marco Catelli - Trumpet
Mila Ferri - Soprano (Vocal)
Olga Adamovich - Contralto (Vocal)
Sergio Giachini - Tenor (Vocal)
Walter Zanetti - Guitar (Acoustic), Guitar (Electric)
* Gammon - Engineer
* Gianna Giovannini - Assistant
* Massimo Simonini - Executive Producer, Producer
* Mell Dettmer - Engineer, Mastering, Mixing, Producer
* Nic Hummer - Engineer
* Peter Stuart - Engineer
"In Regina, Saskatchewan, our elementary school teacher used to play classical records, and make large diagrams which followed the form of the music- while listening she would point to the place in the diagram, and introduce a lot of us kids to the repertoire that way. I got interested in music, started learning the violin.
As a teenager, I played in the youth orchestra, as well as played bass in some top 40 bands. I listened to a lot of classical music, as well as stuff like Prince, Bad Brains, etc. I moved over to Seattle in the early 90s, where I met the jazz violinist Michael White, who was an enormous influence on me. At Cornish college I went to talks by John Cage, Lou Harrison, Toru Takemitsu, which made a strong impression. In '98 I studied with the great violinist Dr. N. Rajam in Mumbai, which really changed the way I heard music. I'm interested in "sound", and in all the musical traditions that treat of it. I've met a lot of great musicians and learned from them.
I played viola with different bands, like Bill Frisell and Secret Chiefs, and created string arrangements for a lot of other artists, Laurie Anderson, Blonde Redhead, Laura Veirs, the Stares, and many more. It's great to collaborate with musicians, to see how it works, from different points of view, how it sounds, how they do it, what one listens to in sound. I don't believe you can know an objective music with notes, tempos, etc; rather, it's mostly about the process which is intersubjective. At the same time, when the thought of music appears, I bring it out. The CDs that I've recorded, 7 NADEs and Theater of Mineral NADEs, the Story of Iceland, Live Low to the Earth in the Iron Age, Virginal Co-ordinates, are mostly about the thought of music, the idea that you get, when you think of a sound, which triggers a memory, for example, which makes you feel a certain way.
I always love to read Renaissance era literature and philosophy, so writing the choral piece Athlantis was a great chance to interact with one of my favorites, Giordano Bruno. The book that I worked with is called Cantus Circaeus. I went to the Ritman library in Amsterdam and held the original edition in my hands; I went through it page by page. Surprisingly, it was a very small book, sort of like those moleskin notebooks that people carry around these days. While composing, I sometimes felt that I was sharing a kind of joke, or riddle, with Bruno, that we were almost laughing together. I don't know why, but I was compelled to combine his text with some obscure poems from Bishop Marbode of Rennes, and some lines from the Hungarian epic Planctus Destructionis.
The piece is something like an oratorio, with the incredible singers Mike Patton and Jessika Kenney on the main parts. I studied and set the text; I did the ground work and created the musical space. All of the singers, choir and soloists, came in and inhabited it and made it their own.”
--- Eyvind Kang, 2007
This is a strange, intermittently fascinating, slightly disturbing, and ultimately simply rather puzzling album. Based on a text taken from the Cantus Circaeus (Incantation of Circe) of Renaissance cosmologist Giordano Bruno, Athlantis is something like an oratorio -- though its musical influences are all over the place and draw as much on medieval as Renaissance influences. Melodically, it evokes everything from Gregorian chant ("Inquisito") to Islamo-Iberian melisma ("Ros Vespertinus"). There are dissonant tone clusters ("Vespertiliones"), a monodic and really quite lovely trumpet fanfare ("Conciliator"), some harmonically advanced and rhythmically minimal passages ("Iupiter"), a little dab of sprechgesang ("Athlantis"), and something that sounds an awful lot like the Swans would if Michael Gira were a 16th century Italian troubadour and played the sitar. Intrigued? Well, that's one possible response. Confused slumber is another. But who's to say which would be the more correct?
---Rick Anderson, All Music Guide
Eyvind Kang
Active Decades: '90s and '00s
Genre: Avntg
Styles: Avant-Garde, Modern Composition, Experimental, Experimental Rock
Violinist Eyvind Kang is from Seattle, where he studied music at Cornish College for the Arts, in addition to studying violin with Michael White. In 1994, Kang received an Artist Support Program grant (by the Jack Straw Foundation) and used it to record the first seven of his series of musical compositions called "NADEs." This recording, 7 NADEs, was released on the Tzadik label in 1996, followed two years later by his Theater of Mineral Nades. Using structures similar to those of classical music, and conventions similar to those in jazz, Kang draws from a variety of traditional and popular styles. Besides composing and playing his own material (and occasionally playing the tuba), Kang has played violin in Bill Frisell's quartet, with John Zorn, the Sun City Girls, and in Wayne Horvitz' 4 + 1 Ensemble. In 1999, an album with clarinetist Francois Houle and drummer Dylan VanDerSchyff entitled Pieces of Time was released on the Canadian label Spool.
---Joslyn Layne, All Music Guide |
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