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Diapason d`Or and Diapason d`Or de L´année

Benoît Fauchet

Diapason d`Or and Diapason d`Or de L´année
Diapason d’Or – News Flash- English Translation
OLIVIER MESSIAEN ‘L’Amour et la Foi’
One of our most prominent choir conductors, Marcus Creed, honoured with the prestigious Diapason d’Or in Berlin and Stuttgart, brings the Danish vocal ensemble up to the same excellent level in a multicoloured triptych. Technique: 4.5/5 SACD technique: 4.5/5.
Recorded at Danmarks Radio in September 2014 and the Garrison Church in Copenhagen in October 1914 by Preben Iwan. Two constellations: female voices, piano, ondes Martenot, celesta, vibraphone, percussion and string orchestra /twelve solo voices. Broad, deep, well-defined and homogenous sound recording. Subtle definition of the vocal and instrumental timbres.
A monograph dedicated to Messiaen’s choral music: let us prick up our ears! And more than that – immediately we are captivated by this first recording with DR VokalEnsemblet and their chief conductor, Marcus Creed, successor to Stephen Layton, who in 2012 caught attention here with his recording of Poulenc’s ‘Moine et voyou’ (Cinq Diapason, cf. no. 603). One can hear Creed’s triumphs with the Berlin RIAS Chamber Choir and later with the SWR Vocal Ensemble in Stuttgart underlying the Copenhagen ensemble’s pure and light texture, its masterful, plastic sound picture and the resilience of its sound production. With regard to vibrato, Creed makes no compromises: We have to admire the sopranos who, without losing sound and with the greatest clarity fire off the high notes in Trois petites liturgies (1943) opposite the colourful instrumental ensemble. ‘This yes, that sings like a echo of light, a red and mauve melody in praising the Father...’: Here, Messiaen is extremely well assisted as a poet and a composer in colours. The images of the text pass through a mysteriously constructed stained-glass picture, melting in a grandiloquent parlando with the chirping song birds of the piano and the celesta, and the mesmerising, almost heavenly Ondes Martenot and quivering strings. The a cappella qualities of the eighteen voices stands out equally strongly, if not more: The sublimeness of O sacrum convivium (1937), a sacred banquet laid out straightforwardly beneath the nave of the church, rests on the stability of the lines and the intelligence of the disposition of nuances that Creed builds up so magnificently. And the choir add that small, enthralling ‘edge’ that comprises its charming beauty of sound. We are held, almost breathless, by the opening of the soloist in the first song of Rechants (1948), and we remain so throughout this cycle about the love of Tristan and Isolde, in which the homage to Claude Le Jeune’s (1530–1600) Printemps is interwoven with Indian patterns of rhythm. Marcus Creed brings out the curves and roundness of the shapes rather than their edges, he emphasises the colours in the two languages the composer invokes (a ‘surrealist’ French and a language that is Sanskrit-inspired and created by Messiaen himself) rather than their consonants. The melodies are finely chiselled, the polyphonies admirably vibrant without degenerating into the saturated. An unassuming label, but make no mistake – a great CD.Benoît Fauchet

Diapason d`Or and Diapason d`Or de L´année
(Danish translation)

OLIVIER MESSIAEN
“L'Amour et la Foi”

En af vores største kordirigenter, Marcus Creed, hædret med Diapason d'Or i Berlin og Stuttgart, bringer det danske vokalensemble op til samme ypperlige niveau i en mangefarvet triptykon.

Teknik: 4,5 / 5
SACD teknik: 4,5 / 5

Optaget i Danmarks Radio september 2014 og i Garnisonskirken i København oktober 2014 af Preben Iwan. To konstellationer: kvindestemmer, klaver, ondes Martenot, celesta, vibrafon, slagtøj og strygerorkester / tolv solostemmer. Bred, dyb, veldefineret og homogen lydoptagelse. Subtil definition af de vokale og instrumentale klangfarver.

En monografi viet Messiaens kor: lad os spidse ører. Og mere end det, straks bliver vi indfanget af denne første indspilning med DR VokalEnsemblet og deres chefdirigent Marcus Creed, afløser for Stephen Layton, som i 2012 gjorde sig bemærket på dette sted med sin indspilning af Poulencs “Moine et voyou” (Cinq Diapason, cf. nr. 603). Man kan høre Creeds triumfer med Berlins RIAS-Kammerkor og senere med SWR Vokalensemble i Stuttgart klinge bag det københavnske ensembles rene og lyse substans, dets mesterlige, plastiske lydbillede og spændkraften i dets lydfrembringelse. Med hensyn til vibrato går Creed ikke på kompromis: Vi må beundre sopranerne, som uden at tabe klangen og med største klarhed afskyder de høje toner i Trois petites liturgies (1943) over for det farverige instrumentalensemble. “Dette ja, der synger som et lysekko, en rød og lilla melodi i lovprisningen af Faderen...” : Her er Messiaen som digter og farvemalende komponist overordentlig godt hjulpet. Tekstens billeder går igennem et mystisk anlagt glasmaleri og sammensmelter et højstemt parlandosprog med klaverets og celestens kvidrende sangfugle, den magnetiserende, nærmest himmelske Ondes Martenot og sitrende strenge. A cappella kvaliteterne af de atten stemmer står mindst lige så stærkt: Det storslåede ved O sacrum convivium (1937), et helligt gæstebud regelret anrettet under kirkens skib, hviler på linjernes stabilitet og intelligensen i den disposition af nuancer, som Creed så storartet bygger op. Og koret tilføjer denne lille fængslende ‘kant’, som udgør dets klanglige charme. Vi bliver grebet, næsten åndeløse af solistens ansats i den første sang af Rechants (1948), og vi forbliver det hele vejen gennem denne cyklus om Tristan og Isoldes kærlighed, hvor hyldesten til Claude Le Jeune's (1530-1600) Printemps føjes sammen med indiske rytmemønstre. Marcus Creed fremelsker formernes kurver og rundinger frem for deres kanter, han fremhæver farverne i de to sprog, komponisten påkalder (et “surrealistisk” fransk og det sanskritsinspirerede, skabt af Messiaen selv) frem for deres konsonanter. Melodierne er ciselerede, polyfonierne beundringsværdigt blomstrende uden at forfalde til det overmættede. Beskeden label, men tag ikke fejl: stor cd.Benoît Fauchet

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