NFOmation.net - Your Ultimate NFO Upload Resource! Viewing NFO file: 000-osvaldo_gojilov__robert_spano_--la_pasion_segun_san_marcos-2cd-2010.nfo 000-osvaldo_gojilov__robert_spano_--la_pasion_segun_san_marcos-2cd-2010
a r t i s t : Osvaldo Gojilov (Robert Spano)
t i t l e : La Pasion segun San Marcos
d a t e : 2010
l a b e l : Deutsche Grammophon
c a t : 00289 477 7461
s o u r c e : CDDA
g e n r e : Classical
r l s. d a t e : Aug/2010
t r a c k s : 31
b i t r a t e : VBRkbps
s i z e : 108,6 MB
_______________________________________________________________________
Listening to the new release, it's easy to hear what was so
revolutionary about "La Pasi≤n. Most music that comes under
the "crossover label tries to incorporate one genre into
another; almost inevitably the result is stilted and
artificial. Golijov, by contrast, writes mambos and rumbas as
convincingly as he composes lyrical, minimalist-inflected
classical music. In "La Pasi≤n, he yoked them together
without sacrificing stylistic authenticity. Some of his
choices are startling: Listen to the "Por que? (Why?)
movement and you will think you've stumbled into a noisy
Brazilian street fair instead of a retelling of Jesus'
anointing at Bethany. Here is that rare piece of music that
legitimately inhabits a multitude of genres; genre, in a way,
ceases to matter. "La Pasi≤n didn't just launch Golijov's
career when it premiered, it made him into a phenomenon. A
tumultuous half-hour ovation followed its first performance,
and a similar reception greeted the US debut, at Symphony
Hall in 2001. In his early 40s Golijov became perhaps the
most famous composer of his generation. Suddenly, critics
were welcoming his ascent as the herald of a new age of
unbounded musical cross-pollination.
Interview / David Weininger, Boston Globe / 26. March 2010
It's easy to understand why Osvaldo Golijov's "La Pasi≤n
Seg·n San Marcos" received a 30-minute ovation at its 2000
Stuttgart premiere: a transferral of the Easter story to
Latin America, it's a vibrant, sonically colourful experience
in which the native South American strains of samba, tango
and salsa contribute as much as the orchestral and choral
elements. The aria performances owe more to Portuguese fado
than to European classical singing. Golijov's intention was
"to present a dark Jesus, not a pale European Jesus", and his
success is partly due to his incorporation of native styles
and structures. The result is an engaging tapestry in which
demotic forms and religious chorale combine with piquant,
astringent energy.
Record Review / Andy Gill, Independent (London) / 26. March
2010
His take on the suffering of the human condition is often
beautiful, blending many magical sounds. This is cultural
diversity at its most inspired, woven around the greatest
story ever told.
Record Review / Paul Callan , Daily Express (London) / 02.
April 2010
_______________________________________________________________________
CD1
01-Vision Baptism On The Cross [01:04]
02-Dance Of The Ensnared Fisherman [00:52]
03-First Announcement [03:55]
04-Second Announcement [02:02]
05-Third Announcement Nor On The Feast Day [00:57]
06-Two Days [01:40]
07-The Anointment In Bethany [01:11]
08-Why [04:00]
09-Lukumi Prayer (Aria With Crickets) [02:27]
10-The First Day [01:30]
11-Judas 12. The Psachal Lamb [04:35]
12-I Wish To Forswear (Aria To Judas) [02:49]
13-The Eucharist [03:52]
14-We Give Thanks To The Lord [05:15]
15-On The Mount Of Olives [01:06]
16-Face To Face [01:11]
17-In Gethsemane [02:03]
18-Agony (Aria Of Jesus) [08:22]
19-The Arrest [02:31]
20-Untitled [01:46]
CD2
01-I Am (Confession) [02:26]
02-Scorn And Denial [01:38]
03-Tearing The Garment [00:55]
04-Colorless Moon (Aria For Peter's Tears) [05:44]
05-Morning Before Pilate [03:46]
06-Silence [01:48]
07-Sentence [01:46]
08-Parade To Golgotha 31 Dance Of The Holy Purple Robe [03:36]
09-Crucifixion [01:55]
10-Death [01:06]
11-Kadish [06:41]
-------
84:29 min
This NFO File was rendered by NFOmation.net
a r t i s t : Osvaldo Gojilov (Robert Spano)
t i t l e : La Pasion segun San Marcos
d a t e : 2010
l a b e l : Deutsche Grammophon
c a t : 00289 477 7461
s o u r c e : CDDA
g e n r e : Classical
r l s. d a t e : Aug/2010
t r a c k s : 31
b i t r a t e : VBRkbps
s i z e : 108,6 MB
_______________________________________________________________________
Listening to the new release, it's easy to hear what was so
revolutionary about "La Pasión. Most music that comes under
the "crossover label tries to incorporate one genre into
another; almost inevitably the result is stilted and
artificial. Golijov, by contrast, writes mambos and rumbas as
convincingly as he composes lyrical, minimalist-inflected
classical music. In "La Pasión, he yoked them together
without sacrificing stylistic authenticity. Some of his
choices are startling: Listen to the "Por que? (Why?)
movement and you will think you've stumbled into a noisy
Brazilian street fair instead of a retelling of Jesus'
anointing at Bethany. Here is that rare piece of music that
legitimately inhabits a multitude of genres; genre, in a way,
ceases to matter. "La Pasión didn't just launch Golijov's
career when it premiered, it made him into a phenomenon. A
tumultuous half-hour ovation followed its first performance,
and a similar reception greeted the US debut, at Symphony
Hall in 2001. In his early 40s Golijov became perhaps the
most famous composer of his generation. Suddenly, critics
were welcoming his ascent as the herald of a new age of
unbounded musical cross-pollination.
Interview / David Weininger, Boston Globe / 26. March 2010
It's easy to understand why Osvaldo Golijov's "La Pasión
Según San Marcos" received a 30-minute ovation at its 2000
Stuttgart premiere: a transferral of the Easter story to
Latin America, it's a vibrant, sonically colourful experience
in which the native South American strains of samba, tango
and salsa contribute as much as the orchestral and choral
elements. The aria performances owe more to Portuguese fado
than to European classical singing. Golijov's intention was
"to present a dark Jesus, not a pale European Jesus", and his
success is partly due to his incorporation of native styles
and structures. The result is an engaging tapestry in which
demotic forms and religious chorale combine with piquant,
astringent energy.
Record Review / Andy Gill, Independent (London) / 26. March
2010
His take on the suffering of the human condition is often
beautiful, blending many magical sounds. This is cultural
diversity at its most inspired, woven around the greatest
story ever told.
Record Review / Paul Callan , Daily Express (London) / 02.
April 2010
_______________________________________________________________________
CD1
01-Vision Baptism On The Cross [01:04]
02-Dance Of The Ensnared Fisherman [00:52]
03-First Announcement [03:55]
04-Second Announcement [02:02]
05-Third Announcement Nor On The Feast Day [00:57]
06-Two Days [01:40]
07-The Anointment In Bethany [01:11]
08-Why [04:00]
09-Lukumi Prayer (Aria With Crickets) [02:27]
10-The First Day [01:30]
11-Judas 12. The Psachal Lamb [04:35]
12-I Wish To Forswear (Aria To Judas) [02:49]
13-The Eucharist [03:52]
14-We Give Thanks To The Lord [05:15]
15-On The Mount Of Olives [01:06]
16-Face To Face [01:11]
17-In Gethsemane [02:03]
18-Agony (Aria Of Jesus) [08:22]
19-The Arrest [02:31]
20-Untitled [01:46]
CD2
01-I Am (Confession) [02:26]
02-Scorn And Denial [01:38]
03-Tearing The Garment [00:55]
04-Colorless Moon (Aria For Peter's Tears) [05:44]
05-Morning Before Pilate [03:46]
06-Silence [01:48]
07-Sentence [01:46]
08-Parade To Golgotha 31 Dance Of The Holy Purple Robe [03:36]
09-Crucifixion [01:55]
10-Death [01:06]
11-Kadish [06:41]
-------
84:29 min
This NFO File was rendered by NFOmation.net
