Ensemble Celadon & Paulin Bundgen - No. Time in Eternity (2017) [CD-Rip]
Artist: Ensemble Celadon & Paulin Bundgen
Title: No. Time in Eternity
Year Of Release: 2017
Label: Aeon
Genre: Classical
Quality: FLAC (image + .cue, log, artwork)
Total Time: 01:00:09
Total Size: 294 MB
WebSite: Album Preview
Tracklist:Title: No. Time in Eternity
Year Of Release: 2017
Label: Aeon
Genre: Classical
Quality: FLAC (image + .cue, log, artwork)
Total Time: 01:00:09
Total Size: 294 MB
WebSite: Album Preview
01. Michael Nyman - Full fathom five
02. Nathaniel Patrick - Prepare to die
03. Michael Nyman - While you here do snoring lie
04. Michael Nyman - Where the bee sucks there suck I
05. John Bennet - Eliza, her name gives honour to my singing
06. Christopher Tye - Sit Fast
07. Michael Nyman - Before you can say come and go
08. William Byrd - Ye sacred muses, race of Jove
09. Michael Nyman - No Time in Eternity
10. Anonymous - In paradise
11. Picforth - In Nomine
12. Nathaniel Patrick - Send forth thy sighs
13. Richard Farrant - O Jove, from stately throne
14. Michael Nyman - Come unto these yellow sands
15. Christopher Tye - In nomine (Crye)
16. Michael Nyman - Self-Laudatory hymn of Inanna and her omnipotence
Through a repertoire of Consort Songs for five violas and countertenor, the Céladon Ensemble tries to underline the obvious artistic connections between the music of english Renaissance and contemporary music. This parentage, this harmonic, rhythmic and poetic logic, opens a whole field of exploration into sound identity and tradition. How have such seemingly different composers, belonging to remote eras, dealt with timbre fusion in a similar way, with the same desire to deeply affect, to create a full-bodied sound, both powerful and soothing ? The two eras are not placed in opposition for this concert, as Michael Nyman’s music arises naturally from that of his predecessors ; on the contrary, it is a clever mix of genres that points out to surprising similarities between these works : we could easily believe that Tye’s Sit Fast was composed very recently. From one century to the next, we face a testimony brought to song by the timbre of a countertenor, the intensity of a violas consort that carries a certain magic, the paradoxical expression of a voice which is solitary but also becomes a seventh instrument, one of the violas.