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★★★★☆ 4 points (2 reviews)


Point x 1

  • Issued : 27 Jun 2006

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Item Details

Genre : Jazz Catalogue Number : 7559.79952
Format : CD Label : Nonesuch/wea
Issued : 27 Jun 2006 Item sourced from : Europe
Number of Discs : 1

Love Sublime

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<Nonesuch Jazz campaign '06>

『パット・メセニー=ブラッド・メルドー』発売、ブラッド・メルドー来日を記念して対象キャンペーン商品をお買い上げのお客様に「NONESUCH特製オリジナル・ミニ・ノート(サイズ:葉書の半分、A7サイズ)」をプレゼントいたします。対象キャンペーンアイテム一覧はこちらをご覧下さい!また、パット・メセニー=ブラッド・メルドー特集ニュースはこちら

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HMV Review

If you think jazz is becoming an endangered art form chained to its past, that's nothing compared to the present condition of classical art song, which is almost extinct in concert halls, sustained mostly by star singers taking a break from opera. Nevertheless, pianist/composer Brad Mehldau treads where very, very few jazzmen have bothered to go before, composing a pair of classical song cycles for the esteemed, front-rank soprano Renee Fleming. No kidding. And he does it strictly in European classical terms; with no jazz, no hints of improvisation except in the title song, everything written out just as Schubert, Schumann, Mahler, Mehldau's idol Brahms, and other classical masters did before him. Rainer Maria Rilke's philosophical poems form the texts for Mehldau's Songs from The Book of Hours: Love Poems to God, a grand seven-song cycle lasting over a half-hour. It speaks well for Mehldau's taste that these are far better texts than you often encounter in lieder, rooted in solitude, questioning man's relationship to God. His responses to the texts are thoughtful and varied in texture, ranging from the daringly simple, spare, stabbing progression of chords as an accompaniment to Your First Word Was Light to quasi-symphonic passages in others. The shorter, three-song Songs from The Blue Estuaries, with texts by Louise Bogan, has a more ambiguous, turbulent texture, just teetering on this side of tonality. Oddly enough, the only piece that does not use a completely written-out score, Love Sublime (a reworking of Mehldau's instrumental Paris), is the song that pays closest homage to Mehldau's classical heroes, Wagner's modulations in particular, and Fleming is given the most latitude in phrasing here as well. Fleming's voice seems to have thickened as of this session, and her overall interpretive outlook remains cool, dignified and detached, while pouring forth seamless streams of polished, steady sound. I Love You, Gentlest of Ways (from First Word) contains long passages of sustained, exposed vocal lines with no place to hide, which doesn't bother Fleming in the least. Throughout Love Sublime, Mehldau aims high -- he takes his task very seriously, and he has the tools for it -- although you don' quite hear a striking individual signature yet. ~ Richard S. Ginell, Rovi

Credits

Brad Mehldau(Piano),  Renee Fleming(Vocals),  Renee Fleming(Soprano (Vocal)),  Richard King(Engineer),  Todd Whitelock(Engineer),  Barbara de Wilde(Design),  Brad Mehldau(Composer),  Brad Mehldau(Liner Notes),  Eli Cane(Production Coordination),  Jim Yates(Assistant Engineer),  Michael Wilson(Photography),  Robert Hurwitz(Executive Producer),  Todd Whitelock(Mastering),  Todd Whitelock(Mixing),  Karina Benznicki(Production Supervisor),  Karina Beznicki(Production Supervisor),  Andrew Ryder(Stage Manager),  Anita Barrows(Text Translation),  Joanna R. Macy(Text Translation),  Louise Bogan(Text),  Rainer Maria Rilke(Text),  Robert Edridge-Waks(Editorial Coordinator),  Todd Whitelock(Audio Engineer)

Songs

  •   
    1
    Book of Hours: Love Poems to God/Your First Word Was Light  (05:27)
  •   
    2
    Book of Hours: Love Poems to God/The Hour Is Striking So Close Above Me  (05:08)
  •   
    3
    Book of Hours: Love Poems to God/I Love the Dark Hours of My Being  (04:34)
  •   
    4
    Book of Hours: Love Poems to God/I Love You, Gentlest of Ways  (07:03)
  •   
    5
    Book of Hours: Love Poems to God/No One Lives His Life  (02:35)
  •   
    6
    Book of Hours: Love Poems to God/His Caring Is a Nightmare to Us  (02:30)
  •   
    7
    Book of Hours: Love Poems to God/Extinguish My Eyes, I'll Go on Seeing  (06:13)
  •   
    8
    Blue Estuaries/Tears in Sleep  (02:30)
  •   
    9
    Blue Estuaries/Memory  (03:24)
  •   
    10
    Blue Estuaries/A Tale  (04:35)
  •   
    11
    Love Sublime  (04:20)

Customer Reviews

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  • ★★★☆☆ 

    もんきい  |  秋田県  |  不明  |  21/June/2011

    これは完全にクラシックの現代音楽の範疇。もっとジャズっぽさがあっても良かったと思うが、 もともとメルドーはスイング感には乏しいピアニストなのでこうなるのかもしれない。 ↓の方のコメントが一部不明。このCDは1枚です。2枚組ではありません。

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  • ★★★★★ 

    uso-800  |  神奈川県  |  不明  |  14/March/2011

    メルドーの曲は独特なので歌にするのが難しい。彼の奥さんでもある歌手フルリーンが歌っているがやっぱりちょっと違和感があった。 CD店でちょっと聞きしてみるとやはり同じような感じ、これはちょっと難しいかな!と思ったが、実はこのアルバム2枚組。 そして2枚目はメルドーの曲ではなく他の人の曲、ミッシェルルグランのロシュフォールの恋人たちからの曲、ジョニミッチェル、そしてバクダッドカフェからコーリングユウなど名曲そろい。 フレミングはコステロとの共演でもクラシック歌手らしからぬ発声方法で ポピュラー曲になじんでいたが、今回はさらにうまく溶け込んでいる。 そして素晴らしいのがメルドーのピアノ、こんなに抑えて伴奏にてっした メルドーのピアノは初めて聞くが、その抑えていながらもキラリとひかる メルドーらしいフレーズがたまらない! クラシックファンもJAZZファンも敬遠しないでぜひ聞いてみてください。

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