Orthodox Songs - Nicolai Gedda, Leonard Mroz, The Orthodox Church Music Ensemble, Jerzy Szurbak - Artistic Director 1994

Orthodox Songs / Nicolai Gedda, Leonard Mróz, The Orthodox Church Music Ensemble, Jerzy Szurbak - Artistic Director

Жанр: Православные песнопения
Носитель: CD
Страна-производитель диска (релиза): Poland
Год издания: 1994
Издатель (лейбл): Polskie Nagrania
Номер по каталогу: PNCD 278
Страна исполнителя (группы): Poland
Аудиокодек: FLAC (*.flac)
Тип рипа: image+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 01:09:47
: собственный рип
: да
Треклист:

1. F. Miasnikow. Błagosłowi dusze moja Gospoda / My Soul, Bless Our Lord

2. Anonim. Błazen muż / Blessed in the Man

3. A. Archangielski. Swietie tichij / Sweet Light

4. Anonim. Kto Bog wielij / There is no greater God

5. P. Gzesnokow. Spasi Boże ludi Twoja / Save your people, o Lord

6. Strokin. Nynie otpuszczajeszy / Now You're releasing Your servant

7. F. Dubiański. Otcze nasz / Our Father

8. P. Dinew. Razbojnika błagorazumnogo / Thou Saved the Repentant Thief, Lord

9. P. Czajkowski. Legienda / Legend

10. A. Rusinowicz-Szczurowska. Płotiju usnuw / Sleeping by body

11. D. Christów. Wo Carstwii Twojem / In the Kingdom

12. Anonim. Iże Chieruwimy / The Hymn of Cherubs

13. A. Archangielski (opr./arr. J. Szurbak). Prositielnaja jektienija / Imploving Litany

14. S. Bogosłowski. Molitwu proliju ko Gospodu / I’ll Pray to the Lord

15. A. Archangielski. Wnuszy Boże molitwu moju / Inspire, o Lord, my prayer

16. M. Stiepanow. Otcze nasz / Father Who Art In Heaven

17. D. Bortniański (opr./arr. J. Szurbak). Mnogaja lieta / Ad multos annos

информация из буклета
Vocal music has always constituted an integral part of religious cults of all nations. Yet scarcely ever have there been stronger ties between the chant and prayer than in the Orthodox liturgy. The very essence of their indivisibility is beautifully rendered by the words of St. John Chrysostom (350 - 407), a great Patriarch of Eastern Church, 'There is nothing more to uprise the soul, to lead it away from secular problems, to set it free from the body, to take wisdom in affection and to hold in contempt our temporal life than harmonious singing and divine song constructed in accordance with rhythmical measure.' I believe that it is only in this way that one can explain the beauty and charm of the Eastern Church music. In the Orthodox liturgical chant, one can find both the splendour of the Bizantine Church ceremonies and the nostalgia of small wooden churches; on the one hand the world of ecstasy and on the other lament of the biggest sinner. The tremendously strong impression that the 'Orthodox singing' makes on listeners can be ascribed to its duality: it is very simple in its vocal devices, yet enchantingly elaborate in its effects. Among its means of expression there is simple recitation as well as masterlike poliphony of vocal concertos. Even today this music remains a genuine mystical experience, a touching art of profound and powerful expression. All these elements add up to create the unique marvel of the Orthodox Church music which, thanks to its diversity, finds the way to every heart.
The church music of ancient Russia originated in the 10th century when the princedom of Kiev, christianized by Bizantium, accepted the faith, liturgy and music of the Eastern rite. Orthodox faith encountered favorable conditions for development on Russian soil: the first school of the Orthodox plainsong was founded in Kiev as early as 1051. Gradually, under the influence of local folk music, the 'Greek chant' evolved into the 'Russian chant'. Church music started to develop in the cathedrals and monasteries of Kiev, Vladimir, Pskov, Valamo and Novgorod where the first attempts at polyphony (strochnoye pienye) were made in the 14th century. It was these monastic centers that most important musical genres emerged and great artistic values were created. In the scope of their activities they had also the development of the theory of music, musical notation (neumatic notation called 'kryuki'), and music didactics. The Church remained the principal centre of professional music till the 16th century. The first composers whose names appeared on their works were Tsar Fyodor and Fyodor Krestyanin. After the 17th-century church singing reform, the 18th century witnessed an astonishing efflorescence of polyphony with its representative form of religious concerto. Many great composers lived at that time: V. Titov, M. Diletsky, A. Vedel, and above all an incomparable master - D. Bortniansky (1771 - 1825). When he died, no other composer has ever displayed such an outstanding talent, yet many of them, e. g. A. Archangielski, A. Lvov, S. Rachmaninov lavishly enriched the Orthodox spiritual treasury. Having such gifted representatives as P. Chesnokov, S. Bogoslovski, A. Koshyts, D. Khristov, P. Dinev, 20th century Orthodox choral singing remains as original, rich and enchanting as ever. It seems worth mentioning here that the Orthodox Church music has lately become a source of inspiration for the composers who are not Christians of the Eastern rite themselves, e. g. R. Tvardowski ('Small Orthodox liturgy') and K. Penderecki ('Utrenya').
The Orthodox Church Music Ensemble at the Warsaw Chamber Opera was founded in January 1972 and since that time gave 760 concerts both at home and abroad. It has visited France, Germany and Switzerland three times already. The Ensemble has also made single tours in Austria, Brazil, Finland, Sweden and the Ukraine. Apart from its regular activities, the group has taken part in numerous festivals of sacred and oratorio music. The Ensemble has been very active since its foundation. It has made recordings for Polish Radio and Television, for threatrical productions and films of such directors as A. Wajda, J. Hofmann, J. Skolimowski i J. Majewski. The repertoire of the choir includes varied pieces ranging from the earliest anonymous pieces through classical church pieces to the eight-part church religious concertos. Their performance is characterized by two major elements: display of solo parts and perfect consonanse of voices.
This CD contains the most attractive and valuable items from the albums recorded by Polskie Nagrania during the 22 years of the Ensemble's activity (SX 1157, SX 1858, SX 2206, SX 2553, SX 2554). The appearance on the disc of two distinguished soloists, N. Gedda and L. A. Mroz, lends an additional magnificence to the record. Nicolai Gedda - world-famous tenor (lirico spinto), soloist of the biggest opera theaters (including 25 operatic seasons at MET New York). Leonard Andrzej Mroz - graduate of the Music Academy in Warsaw; prize-winner of numerous Polish and foreign competitions (including Geneva in 1971 and Hilversum in 1977); singer with an extraordinarily beautiful bass voice; soloist performing on stages of Vienna, London, New York, Teheran, Moscow and other cities all over the world.
Rev. Jerzy Szurbak
Trans. Anna Popow

Об альбоме: Recordings from the archives of Polskie Nagrania, 1974-1987
Состав:
Nicolai Gedda - tenor (1,7,11)
Leonard Mróz - bass (4,5,6,8,10,13,14,16,17)
Zespół Muzyki Cerkiewnej
The Orthodox Church Music Ensemble
Jerzy Szurbak - Artistic Director