Unsuk Chin - Rocana, Violin Concerto

Unsuk Chin (진은숙) - Rocaná, Violin Concerto (Viviane Hagner, Orchestre symphonique de Montréal, Kent Nagano)
Жанр: Contemporary / Orchestral / Concerto
Год выпуска диска: 2009
Производитель диска: Analekta (AN 2 9944), Canada
Аудио кодек: (MP3 + FLAC)
Тип рипа: tracks+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 48:09
Источник: собственный рип
: да (pdf)
Треклист:
01. Rocaná (Room of light) (20:57)
Violin Concerto
02. Movement I (10:10)
03. Movement II (7:14)
04. Movement III (3:26)
05. Movement IV (6:08)
Исполнители:
Viviane Hagner, violin
Orchestre symphonique de Montréal
Kent Nagano, conductor

EAC

Exact Audio Copy V0.99 prebeta 5 from 4. May 2009
EAC extraction logfile from 15. October 2010, 22:06
Unsuk Chin / Rocana, Violin Concero (Hagner, Nagano)
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TOC of the extracted CD
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2 | 21:03.74 | 10:14.35 | 94799 | 140883
3 | 31:18.34 | 7:14.10 | 140884 | 173443
4 | 38:32.44 | 3:27.28 | 173444 | 188996
5 | 41:59.72 | 6:07.57 | 188997 | 216578
Track 1
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Track 2
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Track 3
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Track 4
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CUE

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REM DATE 2009
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PERFORMER 'Unsuk Chin'
TITLE 'Rocana, Violin Concero (Hagner, Nagano)'
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Product Description

Kent Nagano and the OSM explore Korean composer Unsuk Chin's artistic landscape. Chin's music is modern in language, but lyrical in communicative power. The colour of her music might be explained by Chin's affinity for non-European music and by her occupation with electronic music. This recording principal work, the prestigious Grawemeyer award-winning Violin Concerto, Viviane Hagner shows an almost hauntingly masterful display of technique and artistry. Also on this recording, the iridescent Rocaná, an orchestral work commissioned by Maestro Kent Nagano.Rocaná (2008)
The title is Sanskrit and means 'room of light.” For Unsuk Chin, the title does not have any specific religious or mythological meaning. Instead, it refers in many respects to the character of the work as well as to the composition techniques employed. The composer tells that in Rocaná she was concerned with the behavior of beams of light – their distortion, refraction, reflections, and undulations. This was not a matter of mere illustration, but of their depiction by musical means: 'Art as harmony parallel to nature” (Cézanne). Since sound waves – as the physical phenomenon of a bodiless oscillation – are similar to light waves, music seems the appropriate medium for a 'translation” of light phenomena. Furthermore, physical phenomena like space depth and space density, spatial perceptions and illusions of various sorts were important associations in the composition process. Ólafur Elíasson's installations The Weather Project and Notion Motion provided additional extra-musical inspiration.
The music in Rocaná flows uninterruptedly. The overall picture and the overall structure are one entity, one 'tonal sculpture'. However, one can look at it from various angles, since the inner structures are constantly changing. Even if the music at times gives the impression of stasis, subtle impulses, interactions, and reactions are continually present. Certain elements appear time and again, yet always in varied form. They are not developed: they instead lead seamlessly into one another and blend, forming new interactions and processes. Orderly structures suddenly turn into turbulence and vice versa. Pointilistic structures transform into cloudlike aggregates of sound and vice versa.
The composer once pointed out that because of her cultural background she has 'a certain aversion to the sound world produced by traditional symphony orchestras rooted in 19th-century aesthetics, and I feel a great deal of affinity for non-European musical cultures. That is why I always try to introduce a completely different color into my compositions based on my experience of non-European music.' In Rocaná, the instrumentation is more or less standard, but an attempt has been made to treat the orchestra like a 'super-instrument' as well as like a virtuoso 'illusion machine” that creates something new out of that which is familiar.
Primarily through the combination of various instrumental techniques, through rhythmic development and the interplay of overtone structures and microtones, shifts and changes of timbre are achieved; light and color phenomena playfully alternate with one another.© Maris GothoniViolin Concerto
The instrumentation is definitely classic: a soloist and her violin are facing the orchestra. But in this case, the latter has been expanded by adding numerous percussion instruments. And within the group, they seem to form a distinct section of their own, conferring to the work a peculiar colour and intensity. They will not only be used to heighten the increasingly powerful sounds but will also be used to show all the richness in tone. The sensitivity to the rich possibilities offered by such 'new” sounds grew out of the European musical framework: one has to remember the strong impression left by Javanese gamalan orchestras who performed at world fairs at the end of the 19th century, as well as by the discovery of Indian and African music. All this came late but started seeping into the creative process of European composers. With her Violin Concerto
, Unsuk Chin does not only refer herself to a certain tradition but places it within a much wider cultural horizon. The work also refers to the different means and models taken by music in the last century.
The work is made up o