Brett Dean, Swedish Chamber Orchestra - Dean: Rooms of Elsinore (2024) [Hi-Res]
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BAND/ARTIST: Brett Dean, Swedish Chamber Orchestra
- Title: Dean: Rooms of Elsinore
- Year Of Release: 2024
- Label: BIS
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 01:19:17
- Total Size: 317 mb / 1.26 gb
- WebSite: Album Preview
Tracklist
01. And once I played Ophelia: I. Fast, breathless
02. And once I played Ophelia: II. Hushed, distant
03. And once I played Ophelia: III. Fast, agitated
04. And once I played Ophelia: IV. Extremely still
05. And once I played Ophelia: V. Slow, austere
06. Rooms of Elsinore: I. The Dark Gate
07. Rooms of Elsinore: II. The Four Gate Courtyard
08. Rooms of Elsinore: III. The Platform
09. Rooms of Elsinore: IV. The King's Chamber
10. Rooms of Elsinore: V. The Chapel
11. Rooms of Elsinore: VI. The Queen's Chamber
12. Rooms of Elsinore: VII. The Trumpeter's Tower
13. Gertrude Fragments: I. Cast thy knighted colour off
14. Gertrude Fragments: II. Wring from him the cause
15. Gertrude Fragments: III. My too much changed son
16. Gertrude Fragments: IV. How is't with you?
17. Gertrude Fragments: V. If words be made of breath
18. Confessio: Confessio
19. The Players: I. Prelude
20. The Players: II. Look, look! Look where my abridgement comes!
21. The Players: III. Fanfare. The players arrive
22. The Players: IV. Pantomime
23. The Players: V. Postlude
‘The five pieces featured on this recording are the result of an extended fascination and confrontation with Shakespeare’s Hamlet’, writes Brett Dean in his introductory text, going on to explain that the intention of this programme is to be ‘a sonic exploration of the spaces, atmospheres and archetypes of emotion and character in which, and through which, the tragedy of Hamlet unfolds’. These works derive, each in its own way, from an opera, Dean’s take on the topic of Hamlet, premièred in 2017.
And once I played Ophelia for soprano and strings focuses on the often-misjudged character of Ophelia. Rooms of Elsinore for viola and piano, here played by the composer on the viola, feels like a drone flying over the castle of Helsingør, the play’s supposed setting, moving from room to room. Gertrude Fragments for mezzo-soprano and guitar appears like a tribute to the art of lute songs – which are contemporary with Shakespeare – and centres on the complex character of Hamlet’s mother, Gertrude. Examining the monologue of Hamlet’s remorseful uncle Claudius, Confessio for bass clarinet solo explores the possibilities of the instrument. Finally, The Players, a concerto for accordion and small orchestra, revisits the players’ scenes from the first act of Dean’s opera. A fascinating musical exploration of this most iconic of literary masterpieces. About Swedish Chamber Orchest...
01. And once I played Ophelia: I. Fast, breathless
02. And once I played Ophelia: II. Hushed, distant
03. And once I played Ophelia: III. Fast, agitated
04. And once I played Ophelia: IV. Extremely still
05. And once I played Ophelia: V. Slow, austere
06. Rooms of Elsinore: I. The Dark Gate
07. Rooms of Elsinore: II. The Four Gate Courtyard
08. Rooms of Elsinore: III. The Platform
09. Rooms of Elsinore: IV. The King's Chamber
10. Rooms of Elsinore: V. The Chapel
11. Rooms of Elsinore: VI. The Queen's Chamber
12. Rooms of Elsinore: VII. The Trumpeter's Tower
13. Gertrude Fragments: I. Cast thy knighted colour off
14. Gertrude Fragments: II. Wring from him the cause
15. Gertrude Fragments: III. My too much changed son
16. Gertrude Fragments: IV. How is't with you?
17. Gertrude Fragments: V. If words be made of breath
18. Confessio: Confessio
19. The Players: I. Prelude
20. The Players: II. Look, look! Look where my abridgement comes!
21. The Players: III. Fanfare. The players arrive
22. The Players: IV. Pantomime
23. The Players: V. Postlude
‘The five pieces featured on this recording are the result of an extended fascination and confrontation with Shakespeare’s Hamlet’, writes Brett Dean in his introductory text, going on to explain that the intention of this programme is to be ‘a sonic exploration of the spaces, atmospheres and archetypes of emotion and character in which, and through which, the tragedy of Hamlet unfolds’. These works derive, each in its own way, from an opera, Dean’s take on the topic of Hamlet, premièred in 2017.
And once I played Ophelia for soprano and strings focuses on the often-misjudged character of Ophelia. Rooms of Elsinore for viola and piano, here played by the composer on the viola, feels like a drone flying over the castle of Helsingør, the play’s supposed setting, moving from room to room. Gertrude Fragments for mezzo-soprano and guitar appears like a tribute to the art of lute songs – which are contemporary with Shakespeare – and centres on the complex character of Hamlet’s mother, Gertrude. Examining the monologue of Hamlet’s remorseful uncle Claudius, Confessio for bass clarinet solo explores the possibilities of the instrument. Finally, The Players, a concerto for accordion and small orchestra, revisits the players’ scenes from the first act of Dean’s opera. A fascinating musical exploration of this most iconic of literary masterpieces. About Swedish Chamber Orchest...
Year 2024 | Classical | FLAC / APE | HD & Vinyl
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