The Jenesais Choir, Mitos Andaya Hart - Adam Silverman: Elegy for the Earth (2025) [Hi-Res]
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BAND/ARTIST: The Jenesais Choir, Mitos Andaya Hart
- Title: Adam Silverman: Elegy for the Earth
- Year Of Release: 2025
- Label: New Focus Recordings
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz
- Total Time: 00:24:25
- Total Size: 125 / 491 mb
- WebSite: Album Preview
Tracklist
01. Silverman Elegy for the Earth I. Migration of Millions
02. Silverman Elegy for the Earth II. The Koch Foundation
03. Silverman Elegy for the Earth III. Whale Song
04. Silverman Elegy for the Earth IV. Bee Death
05. Silverman Elegy for the Earth V. Fire WaterFracking
06. Silverman Elegy for the Earth VI. The New Doldrums
07. Silverman Elegy for the Earth VII. Anthropocene
08. Silverman Elegy for the Earth VIII. Of Fossil Fuels
09. Silverman Elegy for the Earth IX. World On Fire
Adam Silverman's choral work Elegy for the Earth, sets biting texts by Susan Gubernat on pertinent social issues ranging from migration, the donor class, species extinction, and unsustainable energy practices. The world is a clarion call to action and awareness, given a powerful performance by The Jenesais Choir, conducted by Mitos Andaya Hart.
Adam Silverman's choral setting of texts by Susan Gubernat, Elegy for the Earth, tackles a suite of ramifications of climate change through direct, expressive music. Silverman's harmonic palette is grounded in extended tonal and polytonal structures, and he uses vocal effects with restraint for word painting and setting. The result is a work that is both substantial and economical, powerful and restrained, with nine movements that rise to the import of their topic without overstating their case.
“Migration of Millions” opens with an unsettling cacophony of spoken voices that captures the disorientation of being stateless. The sung chorus enters on a homophonic line, with some voices holding one pitch as others ascend, and as the movement evolves, the voicing varies while the choir mostly sings in rhythmic unison. Silverman uses the aleatoric spoken material from the introduction as an interstitial reprise. Gubernat’s text narrates the perilous plight of the migrant, choosing uncertainty and upheaval over an unbearable status quo.
“The Koch Foundation” skewers the unsavory relationship between arts philanthropy and problematic corporate interests, specifically addressing issues surrounding climate change. Silverman’s setting is somber and pointed, opening with a hummed chorale that leads into a minor mode dirge that highlights the disheartening connections between exclusive donor perks at Lincoln Center’s David H. Koch Auditorium and the damaging consequences of the Koch organization’s environmental policies.
“Whale Song” is a paean to great beasts that washed ashore in California when they were unable to feed, and broadly a lament for all species facing unsustainable conditions that threaten their survival. Silverman’s score is in a slow triple meter, capturing the reverence for the majestic animals and a tender sadness at their suffering.
Pointed repeated chants of “Monsanto” open “Bee Death,” an indictment of the infamous global agrochemical company. Silverman builds a multi-layered delay effect in the ensemble, repeating and fading away the company's name. Bee buzzing effects create an onomatopoeic effect and timbral contrast, spatialized around the ensemble in this brief, stinging movement.
“Fire Water/Fracking” describes a harrowing incident of a child being burned by a malfunctioning faucet spewing methane. Once again, Silverman builds intensity and anticipation with text repetition, rotating the words “the kitchen spigot” in several metric and motivic permutations while a disembodied melody dispassionately sets the impending scene. Silverman uses a non-pitched effect again to enhance the effect, notating a whooshing sound to evoke a painful exploding flame. An ominous unison final phrase asks, “how can she understand methane?”
The longest movement in the piece, “The New Doldrums," is a lush chorale setting that meditates on industry’s insatiable appetite and the resultant historic injustices, from the slave trade to recent oceanic pollution. A lilting, resigned refrain is heard on the words, “commerce, commerce, always the tale of money, and those who make it, destroying the world.”
“Anthropocene” incorporates lively, hocketed entrances that conjure the vibrant diversity of the animal kingdom, in an entreaty to love the richness of the biological world. The movement’s extroversion stands in contrast to much of the rest of the piece, suggesting the inexorable progress of the earth and its inhabitants, even as humanity and other species may suffer irreparably as a result of human activity.
“Of Fossil Fuels” tackles one of the overlooked components of our energy debate, that fossil fuels are in fact the remnants of organic material from centuries past. Silverman’s setting is an admonishment, a haunting message to leave the “monsters buried deep within the earth” alone. The arresting opening of the movement features short phrases divided by charged silences, before the chorus advises to “leave them there.” In the subsequent section, we hear spoken recitation of extinct dinosaur species over the same forceful sung directives, first in the men’s voices, with soaring lines in the women’s voices, and then with the voices switched. “Deep in the earth” is heard in a multi-layered texture before a final warning to cease drilling, or risk “losing all the songs in the earth.”
“World on Fire” depicts a vantage point of the earth from space, having lost its verdant glow. Silverman writes powerful polytonal sonorities that capture both the wonder of gazing upon the cosmos but also the peril of its ongoing degradation. It is a fitting close to this tribute to our planet, serving both as an earnest expression of awe and an urgent warning.
01. Silverman Elegy for the Earth I. Migration of Millions
02. Silverman Elegy for the Earth II. The Koch Foundation
03. Silverman Elegy for the Earth III. Whale Song
04. Silverman Elegy for the Earth IV. Bee Death
05. Silverman Elegy for the Earth V. Fire WaterFracking
06. Silverman Elegy for the Earth VI. The New Doldrums
07. Silverman Elegy for the Earth VII. Anthropocene
08. Silverman Elegy for the Earth VIII. Of Fossil Fuels
09. Silverman Elegy for the Earth IX. World On Fire
Adam Silverman's choral work Elegy for the Earth, sets biting texts by Susan Gubernat on pertinent social issues ranging from migration, the donor class, species extinction, and unsustainable energy practices. The world is a clarion call to action and awareness, given a powerful performance by The Jenesais Choir, conducted by Mitos Andaya Hart.
Adam Silverman's choral setting of texts by Susan Gubernat, Elegy for the Earth, tackles a suite of ramifications of climate change through direct, expressive music. Silverman's harmonic palette is grounded in extended tonal and polytonal structures, and he uses vocal effects with restraint for word painting and setting. The result is a work that is both substantial and economical, powerful and restrained, with nine movements that rise to the import of their topic without overstating their case.
“Migration of Millions” opens with an unsettling cacophony of spoken voices that captures the disorientation of being stateless. The sung chorus enters on a homophonic line, with some voices holding one pitch as others ascend, and as the movement evolves, the voicing varies while the choir mostly sings in rhythmic unison. Silverman uses the aleatoric spoken material from the introduction as an interstitial reprise. Gubernat’s text narrates the perilous plight of the migrant, choosing uncertainty and upheaval over an unbearable status quo.
“The Koch Foundation” skewers the unsavory relationship between arts philanthropy and problematic corporate interests, specifically addressing issues surrounding climate change. Silverman’s setting is somber and pointed, opening with a hummed chorale that leads into a minor mode dirge that highlights the disheartening connections between exclusive donor perks at Lincoln Center’s David H. Koch Auditorium and the damaging consequences of the Koch organization’s environmental policies.
“Whale Song” is a paean to great beasts that washed ashore in California when they were unable to feed, and broadly a lament for all species facing unsustainable conditions that threaten their survival. Silverman’s score is in a slow triple meter, capturing the reverence for the majestic animals and a tender sadness at their suffering.
Pointed repeated chants of “Monsanto” open “Bee Death,” an indictment of the infamous global agrochemical company. Silverman builds a multi-layered delay effect in the ensemble, repeating and fading away the company's name. Bee buzzing effects create an onomatopoeic effect and timbral contrast, spatialized around the ensemble in this brief, stinging movement.
“Fire Water/Fracking” describes a harrowing incident of a child being burned by a malfunctioning faucet spewing methane. Once again, Silverman builds intensity and anticipation with text repetition, rotating the words “the kitchen spigot” in several metric and motivic permutations while a disembodied melody dispassionately sets the impending scene. Silverman uses a non-pitched effect again to enhance the effect, notating a whooshing sound to evoke a painful exploding flame. An ominous unison final phrase asks, “how can she understand methane?”
The longest movement in the piece, “The New Doldrums," is a lush chorale setting that meditates on industry’s insatiable appetite and the resultant historic injustices, from the slave trade to recent oceanic pollution. A lilting, resigned refrain is heard on the words, “commerce, commerce, always the tale of money, and those who make it, destroying the world.”
“Anthropocene” incorporates lively, hocketed entrances that conjure the vibrant diversity of the animal kingdom, in an entreaty to love the richness of the biological world. The movement’s extroversion stands in contrast to much of the rest of the piece, suggesting the inexorable progress of the earth and its inhabitants, even as humanity and other species may suffer irreparably as a result of human activity.
“Of Fossil Fuels” tackles one of the overlooked components of our energy debate, that fossil fuels are in fact the remnants of organic material from centuries past. Silverman’s setting is an admonishment, a haunting message to leave the “monsters buried deep within the earth” alone. The arresting opening of the movement features short phrases divided by charged silences, before the chorus advises to “leave them there.” In the subsequent section, we hear spoken recitation of extinct dinosaur species over the same forceful sung directives, first in the men’s voices, with soaring lines in the women’s voices, and then with the voices switched. “Deep in the earth” is heard in a multi-layered texture before a final warning to cease drilling, or risk “losing all the songs in the earth.”
“World on Fire” depicts a vantage point of the earth from space, having lost its verdant glow. Silverman writes powerful polytonal sonorities that capture both the wonder of gazing upon the cosmos but also the peril of its ongoing degradation. It is a fitting close to this tribute to our planet, serving both as an earnest expression of awe and an urgent warning.
| Classical | FLAC / APE | HD & Vinyl
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