Anton Armstrong and The St. Olaf Choir - Charles Ives: The Celestial Country (2003)
BAND/ARTIST: Anton Armstrong, The St. Olaf Choir
- Title: Charles Ives: The Celestial Country
- Year Of Release: 2003
- Label: Linn Records
- Genre: Classical
- Quality: FLAC (tracks + booklet)
- Total Time: 1:00:37
- Total Size: 269 MB
- WebSite: Album Preview
Tracklist:
1. John Ferguson – The Celestial Country: I. Introduction (00:40)
2. John Ferguson, Charles Gray, Lucinda Marvin, Annalee Wolf, David Carter, The St. Olaf Choir & Anton Armstrong – The Celestial Country: II. No. 1, Prelude, Trio and Chorus (06:40)
3. John Ferguson & David Carter – The Celestial Country: III. Prelude to No. 2 (00:15)
4. John Ferguson, David Carter & Michael Jorgenson – The Celestial Country: IV. No. 2, Aria for Baritone (03:40)
5. Charles Gray, Lucinda Marvin, Annalee Wolf, David Carter, The St. Olaf Choir & Anton Armstrong – The Celestial Country: V. No. 3, Quartet (06:46)
6. John Ferguson & David Carter – The Celestial Country: VI. Prelude to No. 4 (00:22)
7. Charles Gray, Lucinda Marvin, Annalee Wolf & David Carter – The Celestial Country: VII. No. 4, Intermezzo for String Quartet (04:09)
8. John Ferguson & David Carter – The Celestial Country: VIII. Interlude After No. 4 (00:26)
9. The St. Olaf Choir & Anton Armstrong – The Celestial Country: IX. No. 5, Double Chorus, A Capella (03:40)
10. John Ferguson, Charles Gray, Lucinda Marvin, Annalee Wolf, David Carter & Dan Dressen – The Celestial Country: X. No. 6, Aria for Tenor (03:46)
11. John Ferguson – The Celestial Country: XI. Prelude to No. 7 (00:20)
12. John Ferguson, Charles Gray, Lucinda Marvin, Annalee Wolf, David Carter, The St. Olaf Choir & Anton Armstrong – The Celestial Country: XII. No. 7, Chorale and Finale (06:06)
13. St. Olaf Chamber Ensemble & Anton Armstrong – Silence Accompanied: I. Adagio sostenuto (01:11)
14. St. Olaf Chamber Ensemble, The St. Olaf Choir & Anton Armstrong – Silence Accompanied: II. Evening (01:39)
15. Mark S. Johnson & Martha Hart – Silence Accompanied: III. Afterglow (02:03)
16. St. Olaf Chamber Ensemble, Martha Hart & Anton Armstrong – Silence Accompanied: IV. The Collection (01:52)
17. Mark S. Johnson & Martha Hart – Silence Accompanied: V. Duty/Vita (02:37)
18. The St. Olaf Choir & Anton Armstrong – Silence Accompanied: VI. A Christmas Carol (03:41)
19. Mark S. Johnson, Martha Hart & Charles Gray – Silence Accompanied: VII. Sunrise (05:40)
20. St. Olaf Chamber Ensemble & Anton Armstrong – Silence Accompanied: VIII. Hymn (02:53)
21. St. Olaf Chamber Ensemble, The St. Olaf Choir & Anton Armstrong – Silence Accompanied: IX. Mists (01:59)
1. John Ferguson – The Celestial Country: I. Introduction (00:40)
2. John Ferguson, Charles Gray, Lucinda Marvin, Annalee Wolf, David Carter, The St. Olaf Choir & Anton Armstrong – The Celestial Country: II. No. 1, Prelude, Trio and Chorus (06:40)
3. John Ferguson & David Carter – The Celestial Country: III. Prelude to No. 2 (00:15)
4. John Ferguson, David Carter & Michael Jorgenson – The Celestial Country: IV. No. 2, Aria for Baritone (03:40)
5. Charles Gray, Lucinda Marvin, Annalee Wolf, David Carter, The St. Olaf Choir & Anton Armstrong – The Celestial Country: V. No. 3, Quartet (06:46)
6. John Ferguson & David Carter – The Celestial Country: VI. Prelude to No. 4 (00:22)
7. Charles Gray, Lucinda Marvin, Annalee Wolf & David Carter – The Celestial Country: VII. No. 4, Intermezzo for String Quartet (04:09)
8. John Ferguson & David Carter – The Celestial Country: VIII. Interlude After No. 4 (00:26)
9. The St. Olaf Choir & Anton Armstrong – The Celestial Country: IX. No. 5, Double Chorus, A Capella (03:40)
10. John Ferguson, Charles Gray, Lucinda Marvin, Annalee Wolf, David Carter & Dan Dressen – The Celestial Country: X. No. 6, Aria for Tenor (03:46)
11. John Ferguson – The Celestial Country: XI. Prelude to No. 7 (00:20)
12. John Ferguson, Charles Gray, Lucinda Marvin, Annalee Wolf, David Carter, The St. Olaf Choir & Anton Armstrong – The Celestial Country: XII. No. 7, Chorale and Finale (06:06)
13. St. Olaf Chamber Ensemble & Anton Armstrong – Silence Accompanied: I. Adagio sostenuto (01:11)
14. St. Olaf Chamber Ensemble, The St. Olaf Choir & Anton Armstrong – Silence Accompanied: II. Evening (01:39)
15. Mark S. Johnson & Martha Hart – Silence Accompanied: III. Afterglow (02:03)
16. St. Olaf Chamber Ensemble, Martha Hart & Anton Armstrong – Silence Accompanied: IV. The Collection (01:52)
17. Mark S. Johnson & Martha Hart – Silence Accompanied: V. Duty/Vita (02:37)
18. The St. Olaf Choir & Anton Armstrong – Silence Accompanied: VI. A Christmas Carol (03:41)
19. Mark S. Johnson, Martha Hart & Charles Gray – Silence Accompanied: VII. Sunrise (05:40)
20. St. Olaf Chamber Ensemble & Anton Armstrong – Silence Accompanied: VIII. Hymn (02:53)
21. St. Olaf Chamber Ensemble, The St. Olaf Choir & Anton Armstrong – Silence Accompanied: IX. Mists (01:59)
A breathtakingly beautiful recording of Ives' choral music by the accomplished St Olaf Choir.
The twentieth century has seen the coming of age of American music. The great names still with us - like Gershwin, Bernstein and Copland or innovators like Cage and Reich - have emerged out of a century filled with the impact of many central European composers relocating to the New World. But before the First World War an entirely different musical landscape predominated. Boston - not New York, Philadelphia, Chicago or Los Angeles - was the most important location with its great orchestra playing the latest music from Europe. It was also the platform for the latest domestic music on interest, such as that of the most well-known composer of late nineteenth century America, Edward MacDowell, who had spent nearly a decade in Europe before returning home. But the composer who almost single-handedly broke the umbilical ties with European composition was Charles Ives.
The twentieth century has seen the coming of age of American music. The great names still with us - like Gershwin, Bernstein and Copland or innovators like Cage and Reich - have emerged out of a century filled with the impact of many central European composers relocating to the New World. But before the First World War an entirely different musical landscape predominated. Boston - not New York, Philadelphia, Chicago or Los Angeles - was the most important location with its great orchestra playing the latest music from Europe. It was also the platform for the latest domestic music on interest, such as that of the most well-known composer of late nineteenth century America, Edward MacDowell, who had spent nearly a decade in Europe before returning home. But the composer who almost single-handedly broke the umbilical ties with European composition was Charles Ives.
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