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Dichterhain, Bände 1 bis 4

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Dichterhain, Bände 5 bis 8

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Posts mit dem Label Hörprobe werden angezeigt. Alle Posts anzeigen
Posts mit dem Label Hörprobe werden angezeigt. Alle Posts anzeigen

Freitag, 22. September 2017

Hörprobe: Trygve Seim / Andreas Utnem




Modestly subtitled “Songs for saxophone and piano”, 
this recording quietly covers a lot of ground, with 
repertoire including new musical settings of parts 
of the Mass, folk songs, theatre music, improvisations, 
and a new version of Trygve Seim’s softly-breathing 
tune “Bhavana” (first heard on “Different Rivers”). 
“Purcor” is the first recorded documentation of a 
duo that already has a 14 year history. In the mid 
1990s pianist-composer Andreas Utnem, working 
with Norway’s Church City Mission foundation, invited 
saxophonist Seim to join him for selected church services, 
improvising around variations on the psalms and playing 
some of his compositions and Trygve’s. In time, this 
developed into an informal regular ‘gig’ and in 2008 
the players decided it was time to record the special 
music they had shaped along the way. “Purcor” was 
recorded at Tøyen Kirke, a church in the older part 
of Oslo. The album is a thoughtful and reflective 
album, of great charm.

Freitag, 15. September 2017

Hörprobe: TRIO MEDIAEVAL



Oslo’s Trio Mediaeval presents a reconstruction of a 
13th century votive Mass to the Virgin Mary, based 
on surviving manuscripts from a Benedectine Abbey 
in the English Midlands. Inserted amid the medieval 
music are a Credo and Benedicamus Domino specially 
composed for this programme by Gavin Bryars: the 
old and the new intermingle in the work of this vocal 
ensemble. Anna Maria Friman: “The members of Trio 
Mediaeval feel that performing medieval music today 
gives us the freedom to let our imagination and ideas 
flow, as though we are creating contemporary music.”

Freitag, 8. September 2017

Hörprobe: Gianluigi Trovesi




Italy’s great musical archaeologist and one of 

the outstanding improvisers of his country, 
Gianluigi Trovesi with “Profumo di Violetta” 

indulges in his love for the emotional drama 
and musical beauty of Italian opera. (The title 
simultaneously alludes to the protagonist of 
Verdi’s famous opera “La traviata” and to the 
flower’s sweet perfume.) Accompanied by the 
characteristic North-Italian provincial “banda”, 
a large wind orchestra with percussion as we 
find it in the on-stage-music of most Verdi 
operas, Trovesi takes us on a humorous journey 
through the history of the genre.
It starts with Monteverdi’s “Orfeo”, includes 
many highlights from “La traviata” before briefly 
visiting Mascagni and Puccini.
The popular and the sublime, irony and unrestrained 
pathos meet with an improvisational spirit that 
conveys the pure joy of music making. One of 
the most unorthodox albums in this year’s release 
schedule, Trovesi’s opera project is likely to win 
many enthusiastic listeners among opera lovers 
and open-minded jazz enthusiasts.

Freitag, 1. September 2017

Hörprobe: Tomasz Stanko Quintet




On “Dark Eyes” (2005), Jakob Bro, the young guitarist heard 
on ECM on Paul Motian’s “Garden of Eden” is cast 

most often in the role of subtle colourist, while fellow 
Dane Anders Christensen, on electric bass throughout, 
provides the band’s throbbing pulse. The programme 
features new Stanko compositions, including “The Dark 
Eyes of Martha Hirsch”, inspired by an Oskar Kokoschka 
canvas, plus a new version of “Last Song” from Tomasz 
ECM debut “Balladyna”, as well as “Dirge for Europe” 
and “Etiuda baletowa nr. 3” from the pen of Krzysztof Komeda.

Freitag, 25. August 2017

Hörprobe: Tarkovsky Quartet

Link

The unique band founded by François Couturier 
continues to draw inspiration from the films of 
Andrey Tarkovsky as its frame of reference expands. 
Allusions to Pergolesi, Bach and Shostakovich are 
to be found in the compositions here, as are 
compelling group improvisations. As the Irish Times 
wrote of the earlier “Nostalghia - Song for Tarkovsky” 
album (recorded 2005): “Mixing classical rigour with 
improvisation both formal and free, what emerges is 
austerely beautiful, etched in sombre hues and redolent 
of an unslakeable thirst to connect with a deeper well of the spirit.”

Freitag, 10. Oktober 2014