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Maia Brami - Leoš Janáček: On An Overgrown Path (2021) [Hi-Res]

Maia Brami - Leoš Janáček: On An Overgrown Path (2021) [Hi-Res]

BAND/ARTIST: Maia Brami, Camerata Zürich, Igor Karsko

  • Title: Leoš Janáček: On An Overgrown Path
  • Year Of Release: 2021
  • Label: ECM New Series
  • Genre: Classical
  • Quality: Mp3 320 kbps / FLAC (tracks) / 24bit-96kHz FLAC (tracks+booklet)
  • Total Time: 67:47
  • Total Size: 169 / 274 MB / 1.08 GB
  • WebSite:
Tracklist:

1. Suk: Meditation on the Old Czech Chorale 'St. Wenceslas', Op. 35a - Adagio, ma con moto (6:24)
2. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book I - 1. Our Evenings (2:38)
3. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book I - 2. A Blown-Away Leaf (2:16)
4. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book I - 3. Come With Us! (1:00)
5. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book I - 4. The Madonna of Frydek (3:08)
6. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book I - 5. They Chattered Like Swallows (1:37)
7. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book I - 6. Words Fail! (1:42)
8. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book I - 7. Good Night! (3:00)
9. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book I - 8. Unutterable Anguish (3:09)
10. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book I - 9. In Tears (2:27)
11. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book I - 10. The Barn Owl Has Flown Away! (3:20)
12. Sur un sentier recouvert - I. Il était une fois (1:17)
13. Sur un sentier recouvert - II. Tiens! Une feuille morte (1:26)
14. Sur un sentier recouvert - III. Nous danserons (0:52)
15. Sur un sentier recouvert - IV. Boum, boum (2:06)
16. Sur un sentier recouvert - V. Combien de fois depuis (1:27)
17. Sur un sentier recouvert - VI. Les ombres. C’est l’heure (1:18)
18. Sur un sentier recouvert - VII. Cette berceuse du fond (1:06)
19. Sur un sentier recouvert - VIII. Des langues de feu (1:21)
20. Sur un sentier recouvert - IX. Je l’entends qui sanglote (2:00)
21. Sur un sentier recouvert - X. Entends-tu hibou (1:54)
22. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book II - 11. Andante (2:47)
23. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Book II - 12. Allegretto – Presto (3:27)
24. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Paralipomena - 13. Più mosso (2:54)
25. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Paralipomena - 14. Vivo (2:39)
26. Janáček: On An Overgrown Path (Po zarostlém chodnicku), JW 8/17 - Arr. Rumler for String Orchestra / Paralipomena - 15. Allegro (4:28)
27. Dvořák: Nocturne in B Major, Op.40 - Molto adagio (6:17)

'On An Overgrown Path', Leos Janacek's 15 pieces-spanning piano cycle, is here presented in a reshaped guise, arranged for string orchestra and interpreted by the Camerata Zurich under lead violinist Igor Karsko's direction. This is the premiere recording of the orchestral adaption.

In this programme, Janacek's cycle is bookended by Josef Suk's Meditation on the Old Czech Chorale St. Wenceslas and Antonín Dvorak's Notturno pieces that are thematically connected to the folkloric elements found in Janacek's composition.

French writer Maja Brami wrote poems to accompany the new arrangement of On An Overgrown Path, and their recorded versions, spoken by the writer herself, are included on the album, contextualizing the cycle with inventive analogies to Janacek's life.

Much of the cycle 'On An Overgrown Path' - previously captured in its original design on the ECM New Series release 'A Recollection' by Andras Schiff - had originally been conceived for harmonium, a popular domestic instrument in Janacek's days, and was only later rearranged for piano, the instrument the remaining pieces were written for.

Ultimately divided into two volumes - referred to as 'books', - the first, comprising ten pieces, was published in 1911, and the second posthumously in 1942.

Moving seamlessly between subtle harmonic shifts, generous folkloric gestures and more sombre scenes from Janacek's past, the cycle's nuances are respectfully translated to strings on the recording, and the alternatingly light and dark themes that flare up across the 15 pieces turn into a compelling chiaroscuro.


Top Albums | Year 2021 | Classical | FLAC / APE | Mp3 | HD & Vinyl

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  • platico
  •  wrote in 00:57
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gracias...
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  • olga1001
  •  wrote in 10:08
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This is arranged for String Orchestra by Daniel Rumler
but from my memory Piano & Strings arrangement by Mark Adler ? as well as original was used in film "The Unbearable Lightness of Being".
Is this arrangement inspired by the arrangement of the film ?
I've got a high fever because of my 2nd shot of the Covid-19 vaccine :(
Poor thinking now :p
Thanks
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  • gibheid
  •  wrote in 16:13
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Thanks sddd.
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  • gemofroe
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thanks a lot
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  • useit
  •  wrote in 19:57
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Site logo image Between Sound and Space: ECM Records and Beyond
Camerata Zürich: On an overgrown path (ECM New Series 2597)

Tyran Grillo
Jul 2

Camerata Zürich
On an overgrown path

Camerata Zürich
Igor Karsko direction, lead violin
Maïa Brami speaker
Recorded September and November 2017
Radiostudio DRS, Zürich
Engineer: Andreas Werner
Cover photo: Nadia F. Romanini
An ECM Production
Release date: November 26, 2021

“When the heart speaks, the mind finds it indecent to object.”
–Milan Kundera, The Unbearable Lightness of Being

Czech composer Leoš Janáček (1854-1928) penned his two-volume On an overgrown pathbetween 1901 and 1908. While its significance in the pianistic pantheon is often eclipsed by canonical predecessors, its inventiveness is marked by nonorthodox shifts in harmony, each a full statement without the need to justify what precedes or follows. Given the music’s history and place in time, few would be up to the task of arranging it for string orchestra with equal fervor, but this is precisely what Daniel Rumler did in 2016 to luminous effect, breathing not new but old life into the lungs thereof.

As Thomas Meyer notes in the CD booklet, the title of On an overgrown path references a Moravian wedding song, said path signifying the new bride’s severance from a home to which she can never return. The result is a collection of what the composer called “distant reminiscences” of folk songs and practices. In pieces like “A blown-away leaf,” the underlying connectivity of the notes rises to the surface as treasure from past sediment. Given its basis on the rhythms of the Czech language, we can rightly think of these as “texts” across which editorial marks of prosody and poetry abound, shifting with lyrical abandon from elegy to triumph at the gesture of a bow. Dances (e.g., “Come with us!” and “They chattered like swallows”) testify to the power of memory to reside where it cannot be erased. The spiritual glimpses of “The Madonna of Frydek,” which paints in broad strokes yet with detailed awareness, lean into Janáček’s love for his daughter, Olga, who died in 1903.

Much of this music, however, is divided against itself. For instance, what begins as a frolic in “Words fail!” morphs into uncertain recollections and emotional vulnerabilities. The latter work their way through “Good night!” and “Unutterable anguish” with the wormlike glow of burning steel wool. The strings are especially able to draw out that inner turmoil with maximum acuity. Even the closing Allegro grasps a bouquet of fragmented selves, each a palimpsest of circumstance.



Between the cycle’s two books is a 10-part text by Maïa Brami, dedicated to Thomas Demenga, who was the director of the Camerata Zürich when the orchestral arrangement was being put together (and who suggested the writing of these texts). Brami describes the scene as follows:

“In the evening of his life, Leoš Janáček returns to his native forest. He does know it, but it is the last time. The composer is looking for Otto, the son of his muse, Kamila Stösslova, whom he loves passionately. The boy has wandered off into the woods. After years of passionate correspondence, the young woman finally accepted the first-name as an admission of shared love and came to visit him in his family home. When he met her at a spa in 1917, the artist was at his lowest ebb: he had not recovered from the death of his daughter Olga and his career was not taking off. Kamila, his ‘rose,’ his ‘red flower,’ will resurrect him.”

This panoply of yearnings and recollections (“God how I would love to hold on to the summer,” he cries, “I who waited for it all my life!”) unfolds like a biography in miniature, brilliantly capturing moving images of the composer’s childhood (“Deep down in my suitcase, a pot of honey from my father’s hives, heavy as my grief”), mortal anxieties, and the loves connecting the spaces between. Thus, the composer is able to dip his fingers into the font his creative inspiration. And as the end encroaches on him, he resigns to the fleeting nature of things.

The program is bookended by two kindred pieces. The Meditation on the Old Czech Chorale St. Wenceslas, op. 35a (1914) of Josef Suk (1874-1935) welcomes natural sonorities. Like tall grasses in a windswept landscape, it gives purpose to the elements by making known their otherwise invisible movements. The Notturno in B major, op. 40 (1875) by Antonín Dvořák (1841-1904) closes with grace, folding us into a river’s current in search of an oceanic afterlife.

Tyran Grillo
“When the heart speaks, the mind finds it indecent to object.”
–Milan Kundera, The Unbearable Lightness of Being

Czech composer Leoš Janáček (1854-1928) penned his two-volume On an overgrown pathbetween 1901 and 1908. While its significance in the pianistic pantheon is often eclipsed by canonical predecessors, its inventiveness is marked by nonorthodox shifts in harmony, each a full statement without the need to justify what precedes or follows. Given the music’s history and place in time, few would be up to the task of arranging it for string orchestra with equal fervor, but this is precisely what Daniel Rumler did in 2016 to luminous effect, breathing not new but old life into the lungs thereof.

As Thomas Meyer notes in the CD booklet, the title of On an overgrown path references a Moravian wedding song, said path signifying the new bride’s severance from a home to which she can never return. The result is a collection of what the composer called “distant reminiscences” of folk songs and practices. In pieces like “A blown-away leaf,” the underlying connectivity of the notes rises to the surface as treasure from past sediment. Given its basis on the rhythms of the Czech language, we can rightly think of these as “texts” across which editorial marks of prosody and poetry abound, shifting with lyrical abandon from elegy to triumph at the gesture of a bow. Dances (e.g., “Come with us!” and “They chattered like swallows”) testify to the power of memory to reside where it cannot be erased. The spiritual glimpses of “The Madonna of Frydek,” which paints in broad strokes yet with detailed awareness, lean into Janáček’s love for his daughter, Olga, who died in 1903.

Much of this music, however, is divided against itself. For instance, what begins as a frolic in “Words fail!” morphs into uncertain recollections and emotional vulnerabilities. The latter work their way through “Good night!” and “Unutterable anguish” with the wormlike glow of burning steel wool. The strings are especially able to draw out that inner turmoil with maximum acuity. Even the closing Allegro grasps a bouquet of fragmented selves, each a palimpsest of circumstance.



Between the cycle’s two books is a 10-part text by Maïa Brami, dedicated to Thomas Demenga, who was the director of the Camerata Zürich when the orchestral arrangement was being put together (and who suggested the writing of these texts). Brami describes the scene as follows:

“In the evening of his life, Leoš Janáček returns to his native forest. He does know it, but it is the last time. The composer is looking for Otto, the son of his muse, Kamila Stösslova, whom he loves passionately. The boy has wandered off into the woods. After years of passionate correspondence, the young woman finally accepted the first-name as an admission of shared love and came to visit him in his family home. When he met her at a spa in 1917, the artist was at his lowest ebb: he had not recovered from the death of his daughter Olga and his career was not taking off. Kamila, his ‘rose,’ his ‘red flower,’ will resurrect him.”
quote