Mnemosyne / Garbarek, Hilliard Ensemble

Mnemosyne / Garbarek, Hilliard Ensemble

Mnemosyne / Garbarek, Hilliard Ensemble

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CD Details

Composer: Jan Garbarek
Orchestra: Jan Garbarek
Composer: Thomas [Composer] Tallis
Composer: Veljo Tormis
Composer: Scottish Anonymous
Composer: Guillaume Dufay
Composer: St. Albans
Composer: Antoine Brumel
Composer: French Traditional
Composer: Guillaume le Rouge
Composer: Hildegard von Bingen
Composer: Christmas Traditional
Composer: Athenaeus
Composer: Spanish Traditional
Composer: Russian Anonymous
Composer: Native American Traditional
Composer: William Billings
Composer: Mesomedes
Composer: Basque Traditional
Performer: Hilliard Ensemble
Edition: Music CD
Format: Import
CD Release Date: 1999-10-05
Music Label: Ecm Import
Soundtracks:

Music CD 1

Quechuna Song - Anonymus
O Lord In Thee Is All My Trust
Estonian Lullaby
Remember Me My Dear - Anonymus
Gloria
Fayrfax Africanus
Agnus Dei
Novus novus - Anonymus
Se je fayz dueil
O ignis spiritus

Music CD 2

Alleluia nativitatis - Anonymus
Delphic Paean
Strophe and Counter-Strophe
Mascarades - Anonymus
Loiterando
Estonian Lullaby
Russian Psalm - Anonymus
Eagle Dance
When Jesus Wept
Hymn To The Sun

Music reviews of Mnemosyne / Garbarek, Hilliard Ensemble

Music Review: Lovely indeed
Rating: 5 Stars

I was fortunate enough to see Garbarek and the Hillard Ensemble perform pieces from this disc in Tokyo; one of the true surprises and delights of the evening (which I haven't found on the CD yet) was Garbarek's decision to quote from Albert Ayler's "Ghosts" on one piece. You might wonder with a classical vocal group who focus on early music and modern avant-garde choral composition have to do with Albert Ayler -- it seems a difficult gap to bridge. Hearing this two disc set will do much to make it clear. There is something genuinely spiritually uplifting in this music; it never approaches the New Agey wallpaper of Garbarek's weakest disc, VISIBLE WORLD, however -- it's not a tritened, mass-consumable spirituality at work here. There is grief, suffering, sorrow, pain, and fear acknowledged and embraced in this music; and yet it is still life affirming and inspiring (and beautiful to dream to). The spiritual aspect of Ayler's music, of free jazz itself, deserved the acknowledgement; Ayler was one of the most spiritually uplifting jazzmen of the movement, which often spoke in the idiom of the spiritual -- it would have been just as well (though far less moving, somehow, and far less musically appropriate) to quote "A Love Supreme"). Don't be worried by the unusual combination of jazz and classical elements; as another reviewer notes, Garbarek's voice blends in perfectly with the rest of the group, sounds a part of the whole. You'll forget that choral music usually doesn't include a soprano sax in a surprisingly short time. (Note - Garbarek brought a tenor to do the Ayler bit; I really don't know if it's on these discs, as I haven't listened to them in completion yet, but he does play tenor sax on them, so we can hope). Highly recommended stuff. The art for the booklet, by the way, is taken from Ingmar Bergman's SEVENTH SEAL, which is very, very appropriate. People who like and admire Meredith Monk's music (particularly BOOK OF DAYS, her finest work, by me) will appreciate this greatly, too. And vice-versa.

More Mnemosyne / Garbarek, Hilliard Ensemble free music reviews:
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Description of Mnemosyne / Garbarek, Hilliard Ensemble

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It's been six years since these same performers got together to create one of the decade's more unusual experiments in musical alchemy. Beginning with the raw materials of early music and modern jazz, the four male voices of the Hilliard Ensemble joined with jazz saxophonist Jan Garbarek to see what would happen when the proper measure of old music and new style were combined, shaped by the performers' considerable experience and collective aesthetic vision. The success of that recording, titled Officium, and subsequent concert performances paved the way for this second effort, continuing the performers' search for artistically meaningful, musically satisfying combinations of written music and improvisatory elements. The odd title of the new recording comes from a mystical poem by Friedrich Hölderlin, quoted in the liner notes and accompanied by pictures from Ingmar Bergman's The Seventh Seal. Officium aficionados will notice that Mnemosyne is even more adventurous in its explorations, which range farther and farther from the printed page. Musical fragments and a general outline are the starting points for several pieces. Improvisation is more frequently and freely employed, but always adheres to an agreed stylistic framework. Alongside a Tallis hymn or a chant by Hildegard, we hear Iroquois and Peruvian song fragments, an ancient Greek tune, and a beautiful lullaby by Veljo Tormis. Garbarek's tasteful improvisations are appropriate additions, inspired commentaries. The Hilliards are even better than on Officium; their awareness and sensitivity brings everything together into a truly unified expression that shows the timelessness of music and reminds us that where rhythm, melody, and musical imagination join, different styles, centuries, and genres are not necessarily obstacles to compatibility. --David Vernier

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