Brodsky Quartet, Brodsky Quartet - Grundman: A Mortuis Resurgere (The Resurrection of Christ) (2014) [Hi-Res]

Tracklist
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01. A Mortuis Resurgere, Evangelium secundum Ioannem, Capitulo XIX: Largo
02. A Mortuis Resurgere, Evangelium secundum Ioannem, Chapter XIX: Salmodia ad libitum. Post haec autem rogavit… -
03. A Mortuis Resurgere, Evangelium secundum Ioannem, Chapter XIX: A tempo -
04. A Mortuis Resurgere, Evangelium secundum Ioannem, Chapter XX: Prima autem sabbatorum Maria -
05. A Mortuis Resurgere, Evangelium secundum Ioannem, Chapter XX: (Quarter Note = 60) -
06. A Mortuis Resurgere, Evangelium secundum Ioannem, Chapter XX: (Quarter Note = 60) [Vocalise] -
07. A Mortuis Resurgere, Evangelium secundum Ioannem, Chapter XX: (Quarter Note = 60) [Vocalise]-Dum ergo fleret… -
08. A Mortuis Resurgere, Evangelium secundum Ioannem, Chapter XX: Iam noli me tenere… -
09. A Mortuis Resurgere, Evangelium secundum Ioannem, Chapter XX: (Quarter Note = 60)-Thomas autem… -
10. A Mortuis Resurgere, Evangelium secundum Ioannem, Chapter XX: Quarter note = 50-Eighth note = 90 -
11. A Mortuis Resurgere, Evangelium secundum Ioannem: Credo -
12. A Mortuis Resurgere, Evangelium secundum Ioannem: Hosanna


Jorge Grundman uses his unique compositional voice to create music which, above all, communicates with remarkable directness. The simplicity and strength of his artistic vision, intended to reach the widest audience possible, is clear in A Mortuis Resurgere, a work here receiving its premiere recording. Scored for soprano and string quartet, A Mortuis Resurgere sets passages from chapters XIX and XX of St John’s Gospel telling the story of the resurrection of Christ.

Throughout its extended single movement the soprano soloist is required to use a wide range of expressive vocal techniques to communicate the meaning of the Latin text. Supporting the soprano voice is the string quartet, its slowly changing harmonies animated by a surface of rapid rhythmic figurations, all of which combine to produce shifting textures. The contemplative modal-based harmonies are typical of Grundman’s style and form a part of his artistic vision to bridge the gap between pop and classical music.

Joining the Brodsky Quartet is the Spanish soprano Susana Cordón, for whom the challenging vocal part was written. Renowned for its diverse and pioneering collaborations, the Brodsky Quartet has been vital in the development of Grundman’s style, having worked closely with the composer on a number of his earlier works.

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