發行版本:CPO (999 590-2)
專輯類型:Avantgarde, 20th Century, Modern, Orchestral
專輯介紹:
Gloria Coates（1938 - ），美國作曲家，現在好像人在德國。“滑音女王”，作品色調相當灰暗，且因爲大量地長時間運用滑音和微分音，有點摧殘大腦,其他信息不詳,不過這張古典專輯的演奏比較邊緣,顯得比較另類,曲子的優美程度也實在是對聽者耐心的考驗.但仍然具備極大的可聽度
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This is the second of two discs of orchestral music by the American composer Gloria Coates that were released in the late 1990s by the German label cpo (the other includes the First, Fourth and Seventh Symphonies). The composer (who also paints: the cover artwork is a reproduction of her painting Illuminatio in Tenebris) has spent much of her life in Germany, developing a distinctive style that piles up simultaneous layers of music: often pitting piled-up glissandi against simple tonal melodies in a different register.
The Second Symphony of 1988 (in fact a version for large orchestra of her 1974 chamber orchestra piece Planets) is a case in point. It is written in three movements (Northern Lights, Southern Lights and Dawn), each lasting about five minutes, and the first movement mixes (often quite banal and repetitive) tonal melodies and chorales against slow, gliding microtonal canons for the strings. The string glissandi recede in importance in the first half of the finale--based on repetition of brief melodic fragments--but return in the hectic build-up to the climax.
The Quinces' Quandary: Homage to Van Gogh was written simultaneously with the Ninth Symphony and is in fact a version of it for chamber orchestra (the present recording is in fact of its world premiere in Dresden in 1995). A single movement, lasting just under 25 minutes, it progresses slowly and austerely through a sequence of microtonal glissandi, open fifths on the strings, rumblings from the percussion and--in the later stages--chorale melodies. Though the work is very striking in sonic terms, it strikes me as about twice the length the material merits, and I find myself losing interest before the end.
Fragment from Leonardo's Notebooks, "Anima della Terra", written in 1972, is the only vocal work on this disc. This ten-minute setting, part of a still-incomplete oratorio project, is scored for soprano, alto, tenor and bass as well as a large orchestra. This work is far more conventionally written than the other pieces on this disc, and features slow-moving dissonant tonal music in the orchestra that gradually builds to a climax: over this rather bleak landscape intermittent eruptions occasionally burst the vocalists.
Time Frozen, a twenty-minute chamber-orchestra work analogous to the Sixth Symphony in the way that Homage to Van Gogh relates to the Ninth Symphony, was first performed in 1995, and that performance is featured here. This work is one of the most extreme examples of Coates' obsessively canonic writing, as all three movements are in canon form. The first movement is a slow canon in clashing tunings over distantly rumbling drums; the shorter second movement applies canonic procedures to slow glissandi; the finale switches to glissandi that slide up and down like wailing sirens while the rumble of drums returns.
Coates' voice is a very distinctive one, and her music is certainly intriguing, though I tend to find that one or two pieces at a time is enough for me. Her work has something of the single-minded obsessiveness of lone figures such as Ustvolskaya and Scelsi, though I think she is somewhat less of a composer than those two. Nonetheless, this disc should appeal to a small but enthusiastic subset of experimental and contemporary music enthusiasts.
Format: FLAC, Level 5, Complete Scan thaks to nefertiti from hq,[FLAC]分軌