Grazie alla cortesia, all’amabilità, alla generosità e alla specifica autorizzazione ottenuta da Adina Spire, e, per suo tramite, dal Bezdin Ensemble, vi offriamo la registrazione della “Passione Secondo Giovanni” (Johannespassion) di Johann Sebastian Bach in Alta Definizione.
La qualità tecnica dell’incisione (qui redistribuita in formato .AAC) non è comparabile alle normali registrazioni reperibili su classicistranieri.com.
La registrazione è disponibile:
a) per il download (in ALTA definizione):
b) per l’ascolto on line attraverso il nostro player multimediale (in BASSA definizione)
Alcune notizie sull’opera tratte da Wikipedia:
Adina Spire is a classical composer and performer of sacred music for Catholic and Orthodox liturgies. She was born in Arad, Romania, on December 25th, 1977. At the age of four she began to study cello and later composition, first in Arad then in Switzerland and Germany. She worked almost exclusively in her native Romania and in Russia as a sacred music composer, director of choir and orchestra and teacher of film composition. In 2008 she founded the Bezdin Ensemble, a specialized ensemble for sacred music, consisting of a chamber orchestra, choir and vocalists.
The Bezdin Ensemble usually performs Adina Spires works and traditional sacred works from Vivaldi, Bach to Mozart for concerts and liturgical events. Adina Spire is artistic director and conductor of the ensemble. Her compositional works and performance style are strongly influenced by the symbolism of traditional and contemporary Eastern European religious music incorporating elements of gypsy folk traditions.
The Bezdin Ensemble members are currently based near Nischni Nowgorod in Russia, where they have their own recording studio. Managing directors of the ensemble are Adriana Spire (Adina’s sister) and Olga Shtherbatova, produced by NC Productions in Switzerland. Olga Shtherbatova is also assistant conductor together with first violinist Sofia Minks.
It is impossible to fully appreciate the music of Adina Spire without an understanding of its historical context. Its roots reach deeply into the traditional Romanian and Christian orthodox culture, with its shadow and mystery, under the bleak, searing light of her countrys recent struggle against its totalitarian government. In the 1989 Romanian Revolution and subsequent civil war, the country was thrown into chaos. Violence and suffering were everywhere. Adina Spire found herself suddenly an orphan. With no one to help, and nowhere to go, she was placed in the orphanage of Bezdin, a monastery near Arad. Adina Spires music is a tapestry of complex, interrelated themes. Grief, nostalgia, fear, solitude, hope, brutality, innocence, protest, sensuality and longing, all find expression in layers of overlapping sonic colors.
There is rebellion in her music. It is the protest of the soul against the darkness of the Forgotten, hammering at the monolith of indifference. One can hear not only the cry of innocents dying in hunger, war, and neglect around the world today, but also of renewal, of solace, of the Divine. Adina Spires ideas and emotions form the harmonic and dynamic designs that frame her music. There is a slowly shifting ambiguity, as intense feelings seem to peer out from behind a frozen and fearful facade. She freely utilizes folk and orthodox compositional idioms in her writing. But her method is also influenced by the film-editing techniques taken from her work in the cinema. Often discarding orthodox modulation, the composer cuts abruptly between keys or slowly dissolves one chord into another by accumulating their pitches into blurred clusters.
The tonic at any given point in her score is a disputed issue. It may be suddenly established by the orchestra, and then completely absent. These arpeggio-clusters, which have their precedents in the cinematic soundtracks of suspense and horror movies, are tonal ambiguities themselves. Her layering of tonality and atonality, can suggest change, or hesitation, or at times, a wistful hope. In no other composer’s works do the solo instruments or the choir speak so quietly, nor do they venture such modest pitch excursions so diffidently, before a wall of atonal abstraction. Often, tempos are so slow as to give the impression of motionlessness. This effect is sustained even when short note-values are in play, by the use of small and very simple progressions, tense pedal points, and agonized suspensions. Adina Spire works with extreme contrasts between moments of tonal delicacy and cataclysmic avalanches of atonal sound. Between these extremes, time seems to stand still, while the music pivots from key to key, as if gradually shifting its viewpoint. She uses timbre as lighting, and sound positioning as camera angle, in her three-dimensional orchestrations. Her cinematic compositions are the work of a personal and uniquely moving voice.