20 May 2007
Anonymous 4: Gloryland
The quality packaging of Anonymous 4’s latest recording indicates the group’s importance to their label, Harmonia Mundi.
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While not unknown, the songs of Alexander von Zemlinsky (1871-1942) deserve to be heard more frequently.
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Eternal Echoes is an album of khazones [Jewish cantorial music] for cantorial soloist, solo violin and a blended instrumental ensemble comprising a small orchestra and the Klezmer Conservatory Band.
Michael Tilson Thomas’s recording of Mahler’s Third Symphony is an outstanding contribution to the composer’s discography.
Oliver Knussen burst into British music with an unprecedented flourish. In 1967, the London Symphony Orchestra premiered Knussen’s First Symphony, with István Kertész scheduled to conduct.
Based on performances given in Summer 2010 at the Lucerne Festival, this recording of Beethoven’s Fidelio is an admirable recording that captures the vitality of the work as conducted by Claudio Abbado.
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The Polish alto Jadwiga Rappé is a familiar voice in various stage and concert works, and the recent release of a selection of songs by Stanisław Moniuszko (1819-1872) is an opportunity to hear her performing artsongs.
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Released in late 2011, Deutsche Grammophon’s DVD of the new staging of Berg’s Lulu at the Gran Teatro del Liceu, Barcelona is an excellent contribution to the discography of this fascinating opera.
A recent release by the Metropolitan Opera, this two-disc set makes available on DVD the famous performance of Berg’s Lulu that was broadcast on 20 December 1980 as part of the PBS series “Live from the Met.”
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The quality packaging of Anonymous 4’s latest recording indicates the group’s importance to their label, Harmonia Mundi.
No tacky, fragile jewel-case for these ladies. The CD rests snugly in an unbreakable clear-plastic casing, and a 62-page booklet is attached to the inside cover. Attractive graphic design combines warm red, yellow, and orange in a quilt-like design on the front, and good ol’ red, white and blue on the back. Handsome, in a home-spun way.
Gloryland is a “pilgrimage,” according to the back blurb, a collection of religious-themed pieces of “love and loss, hope and redemption.” The four members — Marsha Genensky, Susan Hellauer, Jacqueline Horner, Johanna Maria Rosa — blend their voices with such smoothness that individual timbres disappear into a stream of tart, vibrato-free tone. From first track to last, the enunciation is immaculate, the rhythm spot-on. There is no emotion-laden interpretation; as much as possible, the simple melodic lines and heartfelt words speak for themselves.
On some tracks, two instrumentalists join the women. Darol Auger plays violin and mandolin and Mike Marshall plays guitar, mandolin, and mandocello. The men also perform on some instrumental tracks, including two of three versions of “Wayfaring Stranger.” Their contributions save the recording from any danger of monotony.
On one level, Gloryland impresses as a beautifully performed set of songs that draw one back to a lost era of direct, folk-based musical spirituality. Beyond the respect due to the skills of the artists, after a while the performances begin to feel dry, almost too perfect. Perhaps some occasional moments of unrestrained emotion, of passion-induced frailty, would more fully complete the concept of bringing these hymns and ballads to life. Your reviewer began to wonder if this wasn’t primitive American music performed with too carefully-studied sophistication.
Put it this way — Gloryland would be right at home in front of the register at Starbucks. It would make for pleasurable listening while sipping a Vanilla Bean Frappucino.
Chris Mullins