Gemme

GEMME

Hildegard von Bingen (1098-1179)
Zad Moultaka (1967)
Ensemble Of Caelis direction Laurence Brisset

L’empreinte digitale
CD – ED13241 – 3760002132303
release April 10 2015

distribution Socadisc & Qobuz


PRESENTATION

PRESENTATION
A meeting between heaven and earth
GemmeReference between heaven and earth, between a singular woman, mystic, scientist, musician, living in the Rhineland at the beginning of the first crusade, and a contemporary Lebanese composer. Where the music and poems of the abbess of the twelfth century, famous for its ecstatic visions, rises to melt in that of Moultaka to a gradual descent into hell.
Between archaism and modernity, Gregorian and old modes, the sound universe, by the games of echoes and resonances, takes on a strange modernity and questions our contemporary world, its blackness, its violence, its fragility. The ensemble of Caelis, directed by Laurence Brisset, has specialized in the ancient repertoire and has been opening its programs for today’s composers for several years.

NEWSPAPER

Here is magnified by the ideal acoustics of the abbey church of Saintes, a history of humanity: primitive hope, but inevitable inflection, bankruptcy of the civilizations which lost all reflection as any spiritual requirement (…) By its depth, the chiseled dramatism of his program, the arc stretched between the two musical writings, the quality of the singers who wear it, here is indisputably the best ever recorded by the singers of De Caelis. A new milestone born from their meeting with Zad Moultaka and which produces an unforgettable achievement.
Alexandre Pham, classiquenews.com


(…) Perfection, but inhabited perfection, always carried by a breath, a commitment that allows the program, skilfully built, to always exert its full impact. Difficult to describe in words the disturbing experience to which the dialogue between the music of Von Bingen and the imagination of the Lebanese composer invites …

Alain Cochard, April 2015 Concertclassic.com


It is a spatio-temporal journey, with light as a desire, that this album invites us to bridge the Middle Age and the writing of today (…) With the same breath that animates the Word of the Saint, the electronics here assisting the five exemplary voices of De caelis, it is the sky and the earth that are connected under the compositional gesture of Zad Moultaka.
Michèle Tosi, Resmusica.com


With a tenuous soundtrack, like the phantom sound of the appearance of the world. And a draft of polyphony reverberated by the clouds at the tenth song. Who becomes vocal gangue to the following ones, the time that the distances abolish and that the voices of the angels reach us in their ancient invocations…
Alain Lambert, Musicologie.org


The music of Hildegarde von Bingen is extremely modern. Bold, it has expanded the range of Gregorian chants and pushes the voice to the highest, a way for the mystic to connect heaven and earth. That of Zad Moultaka uses electroacoustics to create echo games, “false echoes-multiplication of voices” in the words of the composer, in order to create a mirror game between the past and the present, a bridge between the Middle-Age and the modern world.Séverin Garnier, Classic but not has been.

1. Ubi es introduction (O pastor) (Zad Moultaka) 2’58
2. O aeterne Deus (Hildegard von Bingen) 3’26
3. Quia ergo femina mortem instruxit (Hildegard von Bingen) 2’29
4. O tu illustrata (Hildegard von Bingen) 4’33
5. O splendidissima gemma (Hildegard von Bingen) 4’27
6. Ave Maria (Hildegard von Bingen) 8’11
7. Hodie aperuit… (Hildegard von Bingen / Zad Moultaka) 2’48
8. Cum processit factura digiti dei formata 3’54
(Hildegard von Bingen / Zad Moultaka)
9. O frondens virga (Hildegard von Bingen / Zad Moultaka) 2’42
10. O Cruor sanguinis (Hildegard von Bingen / Zad Moultaka) 2’35
11. Ubi es I (Zad Moultaka) 8’48
12. Ubi es II (Zad Moultaka) 3’26
13. Ubi es III (Zad Moultaka) 4’58

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GEMME

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VISIONS

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ZARANI

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RITUELS

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OU EN EST LA NUIT

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ZAJAL

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MEDITERRANEE SACREE

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