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#The spheres ola gjeilo trial#
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You may need additional software / hardware to take full advantage of the higher 24-bit high-res audio formats, but any music lover that has heard 16-bit vs 24-bit will tell you it's worth it! Software for Mac OS X ProStudioMasters offers the original studio masters - exactly as the artist, producers and sound engineers mastered them - for download, directly to you. When you listen to music on a CD or tracks purchased via consumer services such as iTunes, you are hearing a low-resolution version of what was actually recorded and mastered in the studio. Life is short there’s something to be said for pleasure.High-resolution audio offers the highest-fidelity available, far surpassing the sound quality of traditional CDs. We singers and conductors may not be hailing Gjeilo as the next great choral composer, but his music is attractive and listenable.
And while Gjeilo enjoys the attention here of two world-class ensembles-Tenebrae and Voces8, whose flawless singing will impress all listeners-his music clearly is also accessible to the vast numbers of accomplished amateur singers that make up the majority of the world’s choral groups. No, there isn’t anything here that will change the face or direction of choral music, but Gjeilo’s work is well-crafted, singer-friendly and sensitive to text, and mindful of how it will touch a listener’s ear and heart-going back to my original point, the “pleasure” index is high. It’s another of Gjeilo’s settings of the Ubi caritas text, and this one is schmaltzy and pretty and peaceful, and the listening is easy, as is all of the listening throughout the 11 pieces on this program, which clocks in at a surprisingly light 48 minutes. The short instrumental Reflections is a pleasant-enough throwaway filler before the final piece, Sacred Heart, sung this time by Voces8 accompanied by string quartet. Gjeilo likes to improvise on piano to some of his a cappella choral pieces, which works very well (the entrancing, chantlike, eventually lushly harmonized opening Ubi caritas), and in other instances he adds strings, once even a guitar, in an intriguing rhythmic/melodic partnership with piano (and string quartet) in a setting of a couple of stanzas from Yeats’ The Lake Isle of Innisfree.Ī penetrating cello solo joins the otherwise unaccompanied choir (Tenebrae, in this case) for a poignant O magnum mysterium in Tundra, also with Tenebrae, accompanied by piano and strings, a swift minimalist-style ostinato figure sweeps us in a cinematic rush across the low landscape (Gjeilo admits to deriving much inspiration from film music) before the choir enters in a mostly unintelligible expression of text by Charles Anthony Silvestri (who’s also famously worked with Eric Whitacre)-a not particularly inspired verse, and likewise the music. He’s not quite one of the former either, for the works on this program are not innovative as much as they are comfortable in familiar territory of composers such as Rutter, Pärt, and Whitacre. Happily, at least on evidence here, Norwegian-born/New York-based composer Ola Gjeilo (nearly every review or article about him comes with the tag after his name: “pronounced Yay-lo”) is not one of the latter. I’m not talking about composers who thoughtfully and creatively influence the development and possibilities of choral music, encouraging us to listen and think about choral singing in new ways I’m referring to those who appear to equate advancement of art with making its practice and expression (performance) just more difficult, and thus less and less accessible to both performers and consumers. In these cases, meaningful musical or emotional connection is elusive, as is any relationship of music to the text.
Instead, I’m confronted with sounds and effects, complexly constructed and technically difficult, seemingly for the sake of complexity and difficulty. Gjeilo: Northern Lights Gjeilo: Sunrise Mass Ola Gjeilo Stone Rose. Tenebrae, Ola Gjeilo, Kristian Kvalvaag, Thomas Gould, Ciaran McCabe, Jon Thorne & Matthew Sharp More by Ola Gjeilo. But in recent years, so often on recordings of new choral works the pleasure is missing. By Ola Gjeilo Tenebrae & The Chamber Orchestra of London. There are many reasons to listen to a recording of choral music: pleasure ranks high on my list.
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