Coincidentally, Partita was broadcast on Saturday night after the Gluck opera:
I was more taken by the performance and performers than the piece. I'd be interested to know how much of the 'enhanced' sound was written into the score and how much was decided and added when the recording was produced. I'd also like to understand the significance of the spoken texts. I find that after Berio's Sinfonia putting spoken text into a vocal/choral setting just has too much to live up to!
There was a piece written for Voces 8 by Alexia Sloane - Earthward - for the 2019 Proms that was in its own way just as vocally challenging as this, and Emily Howard's Ite Fortes, broadcast a couple of years ago - a 'concerto' for violin and chamber choir - is a more original concept, I think.
I'm less interested in original concepts or vocal challenges though than pieces that I actively want to hear again! (Or performing groups - like this one - that create sounds that I like.)
I was more taken by the performance and performers than the piece. I'd be interested to know how much of the 'enhanced' sound was written into the score and how much was decided and added when the recording was produced. I'd also like to understand the significance of the spoken texts. I find that after Berio's Sinfonia putting spoken text into a vocal/choral setting just has too much to live up to!
There was a piece written for Voces 8 by Alexia Sloane - Earthward - for the 2019 Proms that was in its own way just as vocally challenging as this, and Emily Howard's Ite Fortes, broadcast a couple of years ago - a 'concerto' for violin and chamber choir - is a more original concept, I think.
I'm less interested in original concepts or vocal challenges though than pieces that I actively want to hear again! (Or performing groups - like this one - that create sounds that I like.)
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