68 Results for : antediluvian

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    Omega Limited Edition
    Das Wort monumental ist nicht mal ansatzweise stark genug, um "Omega" zu beschreiben. Auf ihrem ersten neuen Album seit fünf langen Jahren zücken die niederländischen Symphonic-Metal-Titanen Epica das ganz große Besteck und entfesseln ihr bislang größtes, umwerfendstes, verblüffendstes Werk. Das erste Mal seit vielen Jahren schrieben sie das Album wieder zusammen. Als Band.Sie kamen in einem Haus in der ländlichen Idylle Hollands zusammen und richteten in mehreren Zimmern ein temporäres Studio ein. Entsprechend ist "Omega" ein Werk der Einheit, der Freundschaft, ein Exempel der engen Bindung unter den Mitgliedern. Inmitten einer Welt in Aufruhr, einer kataklystischen Umwälzung in der Gesellschaft, haben es Epica auf wundersame Weise vollbracht, ihr spektakulärstes Album zu vollenden. Ein Album, das Metal, Orchester, Chor und orientalische Instrumente nahtlos zusammenbringt und eine Flutwelle purer Gänsehaut auslöst. "Omega" ist ein Album, für das eigens Partituren für Orchester und Chor geschrieben wurden, und auf dem ethnische Instrumente zum Einsatz kommen, die von einigen der besten Native-Künstler der Welt vor Ort aufgenommen wurden. Um es kurz zu machen: Sie haben sich übertroffen. Mal wieder. Und es dabei dennoch geschafft, die Songs zugänglich und fast schon unerhört eingängig zu gestalten.Digibook inkl. Bonus Akustik CDDigibook:CD101. Alpha - Anteludium -02. Abyss Of Time - Countdown To Singularity -03. The Skeleton Key04. Seal Of Solomon05. Gaia06. Code Of Life07. Freedom - The Wolves Within -08. Kingdom Of Heaven prt. 3 -The Antediluvian Universe -09. Rivers10. Synergize - Manic Manifest -11. Twilight Reverie - The Hypnagogic State -12. Omega - Sovereign Of The Sun Spheres -CD201. Rivers - A capella02. Abyss O'Time03. Omegacoustic04. El Código Vital
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    Antediluvian King
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    Omega Alive (2CD Digipak)
    Was EPICA im Juni auf die Welt losgelassen hat, war ein Denkmal für ihre Musik, ihre Karriere und ihr bleibendes Vermächtnis als Vorläufer eines ganzen Genres. "Omega Alive" ist die EPICA-Show deiner kühnsten Träume, zum Leben erweckt durch Blut, Schweiß, Tränen und eine gesunde Dosis Größenwahn. Man stelle sich vor, Marvel trifft Cirque de Soleil in einem Tim Burton-Universum.Unterteilt in fünf Akte wie es fünf Buchstaben in EPICA und Omega gibt, hat die Band jedem Part der Show ein anderes Thema, einen anderen Look und eine andere Aura verpasst. Echter Fan-Pleaser: Überall gibt es kleine Verweise und Easter Eggs auf die Bandgeschichte und die aufwändigen Videos, die die Band bereits gedreht hat. Man kann es aber auch ganz einfach sagen: Es ist die beste EPICA-Show aller Zeiten, ein zweistündiges Spektakel, das die gesamte Karriere umfasst und von Simone Simons atemberaubender A-Cappella-Fassung des bewegenden Rivers gekrönt wird, dem wahrscheinlich emotionalsten und schmerzhaft schönsten Moment ihrer Vita. So etwas bekommt man auf Tour nicht zu hören.CD 101. Alpha - Anteludium - (Omega Alive)02. Abyss Of Time - Countdown To Singularity -(Omega Alive)03. The Skeleton Key (Omega Alive)04. Unchain Utopia (Omega Alive)05. The Obsessive Devotion (Omega Alive)06. In All Conscience (Omega Alive)07. Victims Of Contingency (Omega Alive)08. Kingdom of Heaven Part 1 -A New Age Dawns Part V - (Omega Alive)CD 201. Kingdom Of Heaven Part 3 -The Antediluvian Universe - (Omega Alive)02. Rivers - A Capella - (Omega Alive)03. Once Upon A Nightmare (Omega Alive)04. Freedom - The Wolves Within - (Omega Alive)05. Cry for the Moon - The Embrace That SmothersPart IV - (Omega Alive)06. Beyond the Matrix (Omega Alive)07. Omega - Sovereign of the Sun Spheres -(Omega Alive)
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    Omega Alive, 1 Blu-ray + 1 DVD
    Unterteilt in fünf Akte wie es fünf Buchstaben in EPICA und Omega gibt, hat die Band jedem Part der Show ein anderes Thema, einen anderen Look und eine andere Aura verpasst.Echter Fan-Pleaser: Überall gibt es kleine Verweise und Easter Eggs auf die Bandgeschichte und die aufwändigen Videos, die die Band bereits gedreht hat. Man kann es aber auch ganz einfach sagen: Es ist die beste EPICA-Show aller Zeiten, ein zweistündiges Spektakel, das die gesamte Karriere umfasst und von Simone Simons atemberaubender A-Cappella-Fassung des bewegenden Rivers gekrönt wird, dem wahrscheinlich emotionalsten und schmerzhaft schönsten Moment ihrer Vita.So etwas bekommt man auf Tour nicht zu hören.Blu-ray:01. Alpha - Anteludium (Omega Alive)02. Abyss Of Time - Countdown To Singularity (Omega Alive)03. The Skeleton Key (Omega Alive)04. Unchain Utopia (Omega Alive)05. The Obsessive Devotion (Omega Alive)06. In All Conscience (Omega Alive)07. Victims Of Contingency (Omega Alive)08. Kingdom Of Heaven Part 1 - A New Age Dawns Part V - (Omega Alive)09. Kingdom Of Heaven Part 3 - The Antediluvian Universe (Omega Alive)10. Rivers - A Capella - (Omega Alive)11. Once Upon A Nightmare (Omega Alive)12. Freedom - The Wolves Within - (Omega Alive)13. Cry for the Moon - The Embrace That Smothers Part IV (Omega Alive)14. Beyond the Matrix (Omega Alive)15. Omega - Sovereign of the Sun Spheres (Omega Alive)1080p Full HD DTS-HD 5.1 Audio & Dolby Stereo - Region All - Running Time 105 minDVD01. Alpha - Anteludium (Omega Alive)02. Abyss Of Time - Countdown To Singularity (Omega Alive)03. The Skeleton Key (Omega Alive)04. Unchain Utopia (Omega Alive)05. The Obsessive Devotion (Omega Alive)06. In All Conscience (Omega Alive)07. Victims Of Contingency (Omega Alive)08. Kingdom Of Heaven Part 1 - A New Age Dawns Part V (Omega Alive)09. Kingdom Of Heaven Part 3 - The Antediluvian Universe (Omega Alive)10. Rivers - A Capella - (Omega Alive)11. Once Upon A Nightmare (Omega Alive)12. Freedom - The Wolves Within - (Omega Alive)13. Cry for the Moon - The Embrace That Smothers Part IV (Omega Alive)14. Beyond the Matrix (Omega Alive)15. Omega - Sovereign of the Sun Spheres (Omega Alive)16:9 5.1 AC3 surround & Dolby Stereo - Region All - Running Time 105 min
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    Epica: Omega (Earbook/4CD)
    Das Wort monumental ist nicht mal ansatzweise stark genug, um "Omega" zu beschreiben. Auf ihrem ersten neuen Album seit fünf langen Jahren zücken die niederländischen Symphonic-Metal-Titanen Epica das ganz große Besteck und entfesseln ihr bislang größtes, umwerfendstes, verblüffendstes Werk. Das erste Mal seit vielen Jahren schrieben sie das Album wieder zusammen. Als Band.Sie kamen in einem Haus in der ländlichen Idylle Hollands zusammen und richteten in mehreren Zimmern ein temporäres Studio ein. Entsprechend ist "Omega" ein Werk der Einheit, der Freundschaft, ein Exempel der engen Bindung unter den Mitgliedern. Inmitten einer Welt in Aufruhr, einer kataklystischen Umwälzung in der Gesellschaft, haben es Epica auf wundersame Weise vollbracht, ihr spektakulärstes Album zu vollenden. Ein Album, das Metal, Orchester, Chor und orientalische Instrumente nahtlos zusammenbringt und eine Flutwelle purer Gänsehaut auslöst. "Omega" ist ein Album, für das eigens Partituren für Orchester und Chor geschrieben wurden, und auf dem ethnische Instrumente zum Einsatz kommen, die von einigen der besten Native-Künstler der Welt vor Ort aufgenommen wurden. Um es kurz zu machen: Sie haben sich übertroffen. Mal wieder. Und es dabei dennoch geschafft, die Songs zugänglich und fast schon unerhört eingängig zu gestalten.Earbook inkl. Bonus Akustik CD, Orchestral CD &amp, Instrumental CDEarbook:CD101. Alpha - Anteludium -02. Abyss Of Time - Countdown To Singularity -03. The Skeleton Key04. Seal Of Solomon05. Gaia06. Code Of Life07. Freedom - The Wolves Within -08. Kingdom Of Heaven prt. 3 -The Antediluvian Universe -09. Rivers10. Synergize - Manic Manifest -11. Twilight Reverie - The Hypnagogic State -12. Omega - Sovereign Of The Sun Spheres -CD201. Rivers - A capella02. Abyss O'Time03. Omegacoustic04. El Código VitalCD301. Alpha - Anteludium - (Orchestral version)02. Abyss Of Time - Countdown To Singularity -(Orchestral version)03. The Skeleton Key (Orchestral version)04. Seal Of Solomon (Orchestral version)05. Gaia (Orchestral version)06. Code Of Life (Orchestral version)07. Freedom - The Wolves Within - (Orchestral version)08. Kingdom Of Heaven prt. 3 -The Antediluvian Universe - (Orchestral version)09. Rivers (Orchestral version)10. Synergize - Manic Manifest - (Orchestral version)11. Twilight Reverie - The Hypnagogic State -(Orchestral version)12. Omega - Sovereign Of The Sun Spheres -(Orchestral version)CD401. Alpha - Anteludium -02. Abyss Of Time - Countdown To Singularity -(Instrumental version)03. The Skeleton Key (Instrumental version)04. Seal Of Solomon (Instrumental version)05. Gaia (Instrumental version)06. Code Of Life (Instrumental version)07. Freedom - The Wolves Within -(Instrumental version)08. Kingdom Of Heaven prt. 3 -The Antediluvian Universe - (Instrumental version)09. Rivers (Instrumental version)10. Synergize - Manic Manifest - (Instrumental version)11. Twilight Reverie - The Hypnagogic State -(Instrumental version)12. Omega - Sovereign Of The Sun Spheres -(Instrumental version)
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    Australian Festival
    Jade CDs are widely heard on national and fine music stations throughout Australia, and are recognised as a valuable resource by educational authorities as being uniquely representative of the work of Australian composers. They are manufactured in limited runs of 500 and stocks are therefore may be regarded as collectors' items! All Jade CD covers are distinctive. Most Jade CDs have an anthology format and include works by several composers. It's great to have these CDs on offer for a wider audience at CD Baby. 'AN AUSTRALIAN FESTIVAL' JADCD 1095 Works by: Tomas Luis de Victoria, Robert Allworth, Carson P. Cooman, Lawrence Bartlett, Derek Strahan, Ann Carr-Boyd. Eric Gross, Duration: 64'09' Summary: This CD displays a characteristic feature of Jade releases - a combination of sacred and secular music. The colourful cover illustration of St. George slaying a dragon, illustrates the opening 4'30' track by Allworth: Prelude for the Most Holy Name of Jesus and Saint George and The Dragon (1990) which is followed by Allworth's 6 Meditations on Early English Saints (1990). Both works are for organ and are given a vivid interpretation by US organist and composer, Carson P. Cooman, on the organ of the Harvard University Memorial Church. Two contrasting works by Cooman follow -Tenebrae Canticle (2001), exploring ideas of liturgical darkness, and the sprightly Dawning, a birthday portrait for a friend. Two historical recordings made in 1979 at Sydney's Christ Church St. Lawrence capture the ambience of this location as Colin Sapsford directs the choir in settings by Tomas Luis de Victoria (1548-1611) of Missa O Magnum Mysterium and a Good Friday Hymn. Bartlett's own Ceremonial Te Deum (1988) is heard, as sung by choir and organ at a special service of Morning Prayer, at St, Andrews Cathedral, Sydney, in the presence of the Prince and the Princess of Wales, during the 1988 Bicentennial celebrations. In secular mode, Gross contributes two works: Rondino Pastorale for flute and Plectrum Ensemble (1962), and Prefatory Sonnet (1984) one of 3 Songs for soprano or tenor, clarinet and piano, in this instance sung by Anthony Walker. Strahan's Atlantis Variations for Solo Piano, Pt. 2, (1992) is one of several works developing material for a proposed 4-opera cycle on Atlantis, this one centred around the character of Calypso, a rebellious daughter of Atlas. The CD closes with Carr-Boyd attractive miniature for piano, Maladies Of Love (1982). Track list: - with more details about each piece and the performances. Prelude and Meditations by ROBERT ALLWORTH (b.1943) Tracks 1 - 7 were recorded by CARSON P. COOMAN in the Memorial Church at Harvard University, USA on the ISHAM MEMORIAL ORGAN on the I7th of May 2002 for the 60th Birthday year of the Composer. Track 1- PRELUDE FOR THE MOST HOLY NAME OF JESUS AND SAINT GEORCE AND THE DRAGON. The organ prelude,composed in 1990, is derived from two themes in the slow movement of the composer's orchestral work PLATEAU which was recorded by PATRICK THOMAS conducting the OUEENSLAND SYMPHONY ORCHESTRA in 1974. MEDITATIONS OF EARLY ENGLISH SAINTS (1990) Track 2 - SAINT GILES AND SAINT CHAD. Saint Ciles - ninth century, with 150 Churches dedicated in his honour, in Great Britain. He is the patron Saint of Cripples and the Indigent. Saint Chad - Bishop in Northumbria,died in 672 at Lichfield where he founded a Monastery. Track 3 -SAINT RICHARD OF CHICHESTER. Bishop l244,died at Dover, 1253. He became Chancellor of his University. SAINT THOMAS OF HEREFORD, Bishop at Hambleden in Buckinghampshire, died in 1282. Educated at Oxford and ordained a priest by Pope Innocent IV. Track 4 - SAINT DUNSTAN, Bishop, born near Glastonbury in 909. He restored monastic life at Glastonbury which had ceased to exist since the Scandinavian invasions. In 959 he was made Archbishop of Canterbury. SAINT CUTHBERT, Bishop, died 687, buried at Lindisfarne. His remains were removed after the Viking Raids. His remains were placed in Durham Cathedral. Ln 1827,the Medieval shrine was rediscovered in Durham Cathedral. Track 5 - SAINT CHARLES died in 945 at Glastonbury. A monk who had visions of the Holy Family. Many miracles of healing have been attributed to this saint. SAINT ALBAN is venerated as the First Martyr in the Island of Britain. He was martyred in 209. Track 6 - SAINT JOSEPH OF ARIMATHAEA. First century. The Apostle Paul sent Joseph to be a missionary in the Island of Britain, whose first church he founded at Glastonbury. SAINT WILLIAM OF NORWICH died at Norwich in 1144. William was venerated locally as a martyr, after his mutilated body was found in a wood outside Norwich. He was 12 years old when he died. Track 7- SAINT ROBERT OF NEWMINSTER died 1159 He was accepted by Saint Bernard of Clairvaux into the Cistercian Order and then at Newminster. SAINT PETER OF SALISBURY died in Kent in 542. He was an assistant of the Augustian Friars, founded in 520. Tracks 8/9: Two Works for organ by CARSON P. COOMAN performed by the composer on the ISHAM MEMORIAL ORGAN in the Memorial Church at Harvard University, USA. Track 8 - Tenebrae Canticle (2001) was written for Rochester Christian Reformed Church and an Advent 2001 service Of darkness. Lt is a work exploring ideas of liturgical darkness, inspired by a verse from the Psalms (I8:11): He made darkness his secret place, his pavilion round about him were dark waters and thick clouds of the skies. Track 9 - Dawning (2002) for Organ was written for and is dedicated to Sandra Gay, on her birthday. The work is vibrant and vital (a personality portrait). Two fast outer sections surround a slower, more lyrical one. HISTORICAL RECORDINGS OF TWO WORKS BY TOMAS LUIS DE VICTORIA (1548-1611) MADE IN CHRIST CHURCH ST. LAWRENCE, SYDNEY, AUSTRALIA. Track 10 - KYRIE ELEISON - GLORIA IN EXCELSIS DEO from MISSA O MAGNUM MYSTERIUM Performance: Choir of Christ Church Saint Laurence Conductor - Colin Sapsford. Soprano - Diana Sapsford, Alto - Lyn Moffat, Tenor - Charles Dale, Bass - Neil McEwan.(Track to recorded in 1979) Track 11 - GOOD FRIDAY HYMN - THE ROYAL BANNERS FORWARD GO - translated by J.M. Neale from the Latin of BISHOP VENANTIUS FORTUNATUS, 530-606.Tune: ANDERNACH from the ANDERNACH GESANGBUCH .1608. Sung by the Choir and Congregation of Christ Church St. Laurence. With Colin Sapsford at the organ. Track 12 - CREMONIAL TE DEUM (1988) by LAWRENCE BARTLETT (1933-2002) Performance: Choir of St. Andrews Cathedral conducted by Michael Deasey, Bransby Byrne, organist. Lawrence Bartlett was for many years rector of St. Michael's Anglican Church, Vaucluse, Sydney, Australia, and also preceptor at St. Andrews Cathedral, Sydney. He composed a considerable amount of fine choral and organ music, including this work which was composed as part the Australian Bicentennial celebrations of 1988. It was sung at a special service of Morning prayer, in the presence of their Royal Highesses, Prince Charles, and the late Princess Diana. Track 13 - RONDINO PASTORALE OP. 33 (1962) by ERIC GROSS (b.1926) Performance: Michael Scott, flute and the Sydney Mandolins. A brief work designed to convey a relaxed, pastorle atmosphere. Originally composed as a piece for flute and harp, and subsequently arranged by the composer for various other instrumental combinations. Track 14 - PREFATORY SONNET OP. 139/1(1984) by ERIC GROSS (b.1926) Setting of a poem by Henry Kendall Performance: Anthony Walker, tenor, Ingrid Pearson, clarinet, Peter Maddox, piano. ATLANTIS VARIATIONS FOR SOLO PIANO PART 2 (1992) by DEREK STRAHAN (b.1935) Derek Strahan, piano Composer's notes: Written in 1992, Atlantis Variations for piano (in 3 parts) is one of four works written developing material for use in a proposed 4-opera cycle dealing with antediluvian civilisations of antiquity. Musical ideas for the third opera, Calypso In Exile, are developed in Atlantis Variations Part 2, heard here. Part 1 develops ideas for the second opera, and Part 3 for the final opera in which Atlantis
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    Autumn Rhapsody
    Jade CDs are widely heard on national and fine music stations throughout Australia, and are recognised as a valuable resource by educational authorities as being uniquely representative of the work of Australian composers. They are manufactured in limited runs of 500 and stocks are therefore may be regarded as collectors' items! All Jade CD covers are distinctive. Most Jade CDs have an anthology format and include works by several composers. It's great to have these CDs on offer for a wider audience at CD Baby. 'AUTUMN RHAPSODY' JADCD 1096 Works by: Geoffrey Allen, Robert Allworth, Eric Gross, Derek Strahan. Duration: 60'17' Summary: 'After The Rapture', Allen's 20-minute Suite for piano solo (2001) offers four contrasting movements written in reflective and elegant style, and which were composed while Allen (a publisher) was engaged in preparing a complete edition of the works of Australian composer Roy Agnew. The work is dedicated to Agnew's sister, Marjorie. Five movements follow from Allen's extensive work 'Diversions' (1994) for oboe, clarinet & bassoon further reveal the composer's gift for melody and aptitude for counterpoint. Three works for solo piano complete the CD. Allworth's 'Autumn Reverie', played by David Miller, comprises five preludes in elegiac mood: Mosaics - Yellow - Gold - Grey - Green. 'Pensive Prelude', composed & played by Gross, is a gentle, evocative piece requiring thoughtful use of the sustaining pedal. In contrast, Strahan's 'Atlantis Variations, Part 3' employs the resources of the piano to depict an asteroid strike on the Earth in 8,500 BC which terminated the Quaternary Age, brought on the Great Flood, and may have caused the sinking of Atlantis. This is one of several works developing material for a proposed 4-opera cycle on Atlantis. Track list: - with more details about each piece and the performances. (A biographical note on Geoffrey Allen follows after the track list) Suite for Piano - After The Rapture (2001) by GEOFFREY ALLEN (b. 1927) Tracks 1,2: Clear Blue Skies / An Autumn Rhapsody. Joy Lee, piano. Track 3,4: A Walking Tune / After The Rapture. Edward Neeman, piano Composer's note: 'Between 1997 and 2001 I was considerably occupied with the preparation and printing of a new and complete edition of the piano music of Roy Agnew, for which (Australian composer) Larry Sitsky acted as editor. In the early days of this project, and through correspondence with the music archivist at the Mitchell Library in Sydney, I learned that Agnew's youngest sister, Marjorie, was still alive and well. I made contact with her, and later in company with Dr. Rita Crews, met her in person ... and she provided us with some personal background to Roy Agnew and his compositional activities. It was therefore with great regret that, before I could produce a published version of After the Rapture for presentation to Marjorie, l learned of her quite sudden passing. She never knew that I had written this music for her as I was keeping it as a surprise. Nevertheless I may hope that it will stand as one small tribute to her, and that her family may enjoy it and the memories it may bring. Track 5 - Diversions (1994) by GEOFFREY ALLEN (b. 1927) Jay Harrison - Oboe, Jack Harrison, Clarinet, Jill Mowson, Bassoon. Recorded live in concert at the West Australian Conservatorium of Music 10/4/94. Diversions Op. 24 comprises twenty short movements, they were written between 1992 & 1994. Interpreters of this piece may select as few or as many of the movements as they wish, presenting them in whatever order they consider to be appropriate. For this recording, movements 4, 6, to, 11 & 12 were chosen. (played in this order). Track 6 - An Autumn Reverie (I972) by ROBERT ALLWORTH (b.1943) David Miller, piano. An Autumn Reverie is a series of five preludes composed in 1972 - Mosaics - Yellow - Gold - Grey - Green. These colour preludes were revised in 1990 and placed together in this new recording in 1991 (in Studios 301, Sydney). The revised five colour preludes now placed together, comprise An Autumn Reverie. Track 7- Pensive Prelude (1996) by ERIC CROSS (b.1926) Eric Gross, piano (Studio 301, Sydney). Pensive Prelude is a gentle, evocative piano solo requiring thoughtful use of the sustaining pedal of the piano. Tracks 8,9,10 & 11 - Atlantis Variations for Solo Piano - PART 3 (1992) by DEREK STRAHAN (b. l935) Derek Strahan, piano. Digital recording, new Music Theatre 2002. Composer's note: Composed in 1992, Atlantis Variations for Solo Piano is one of several works written to develop material for inclusion in a proposed cycle of 4 operas on the topic of antediluvian civilisations. In Part 3, featured here, I seek musical means to portray the cataclysm which is thought to have terminated the Quaternary Age and is referred to in the mythologies of many cultures as the Flood. Many scenarios have been advanced to explain this global event. I have elected to follow that suggested by physicist, engineer, inventor and rocket scientist Otto Heinrich Muck in his work 'The Secret Of Atlantis' (1978) CELESTIAL BODIES -THE GOLDEN AGE:- Musical themes are heard denoting Sun, Venus, Moon and Earth, followed by The Golden Age, denoting Atlantean civilisation at it's height. These themes (and motifs for Poseidon, his consort, Cleito, and Atlas) are employed as building blocks in constructing the following narrative:- CONJUNCTION - APPROACH OF THE INTRUDER:- On June 5, 8498 B.C. a triple conjunction occurs of Venus, Moon & Earth which causes an Asteroid of the Adonis Group to be diverted from it's orbit shortly after reaching it's perihelion (closest point to the Sun). In two minutes actual time, it is drawn into the Earth's atmosphere, shatters and scourges the Earth with it's debris. IMPACT - DELUGE:- The Asteroid splits into two monstrous boulders, kilometres wide, which plunge into the ocean in the (now) Gulf of Mexico and penetrate the earth's crust leaving a (still existing) scar of two abyssal holes in the ocean floor. Huge tidal waves deluge surrounding land masses. THE END OF AN AGE:- Red-hot magma pours from severed rifts in the Atlantic Ocean. The earth tilts on it's axis. The poles move. The seas rise. There is worldwide volcanic activity. The planet experiences climatic change. We are survivors of survivors. 'Atlantis' Program Notes Copyright O 2002 Derek Strahan *Atlantis Variations Pt. 2 may be heard on 'An Australian Festival': JADCD 1095, and other 'Atlantis' works on Jade CDs 'Voodoo Fi re' (JADCD 1063), 'Eden In Atlantis' (JADCD 1074). An adaption of the libretto for 'Eden In Atlantis' can be heard on the spoken word CD 'Past Life Recall' RDS005. These CDs are available at CD Baby. These CDs are available at CD Baby. 'Atlantis' Program Notes Copyright O 2002 Derek Strahan. GEOFFREY ALLEN - BIOGRAPHICAL NOTE Geoffrey Allen was born in England on June 6th 1927 and grew up in Brentwood, Essex. His parents were not particularly musical, although they owned a piano which his mother played occasionally. He had piano lessons from the age of six until he was eighteen, and in his mid-teens he developed a strong passion for music, including an urge to compose. However, suggestions that he follow musical studies when he was about to complete his schooling were strongly discouraged, and finally he went up to Oxford in 1945 to read chemistry, and after break of two years for military service, geography, in which latter subject he graduated in 1951. At the end of that year he was married, and immediately made plans to emigrate to Australia arriving in Sydney in February 1952. A brief stint of teaching at Trinity Grammar, which he found to be an uncongeniaI occupation led to him joining the staff of the Public (now State) Library of NSW in late 1953, and to the commencement of his career as a librarian. This took him to work for the CSIRO, and then to the University of Western Australia in 1961, from where, in 1967, he moved to be the foundation librarian of W.A.I.
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    Journey's Threads
    7 pieces of music featuring the beautiful counter tenor voice of Daniel Tucker and the elegant violin playing of Michael Peck, combined with the delicate piano, classical guitar, vocals and electronics of Ian Harris. An album that moves from breathtaking simplicity to dazzling virtuosity, creating varied landscapes of polished sound. REVIEWS "There are some classical music aficionados who are averse to the atonal tendencies of many modern compositions. Pianist Ian Harris however, has masterfully counteracted this trait with his clever inclusions of aurally pleasing tones and placid sparkle. On the Britain's second album The Journey's Threads he once again works with counter tenor Daniel Tucker and violinist Michael Peck. The opener "Over Ice Land" is hauntingly beautiful with it's stark mysterious aura. Tucker's vocals are lovely and ethereal with Peck and rustic flute calls echoing in the distance. Harris lends his vocals in the latter half of the song with his warmth nicely complementing the celestial counter tenor. The mostly instrumental "Between White Clouds" takes the romantic notion of painting the aural picture the title implies, yet Harris' rendering is more sophisticated. The delicate bells and electronic noises he employs around his piano work are like the wispy silver linings of the clouds. Peck's violin statements are thither and gone like a gentle gust. In the final portion of the song, Harris' tender vocals sing the title. "Walking Towards the Rainbow" is a quiet piano solo that begins with a melodic idea twice stated, as if to build up the gumption. Then Harris gently and ever so subtly plays an eighth note journey of rises and falls like footsteps on a garden path, yet as glistening as the water from a stream flowing over smooth pebbles. The listener can become so absorbed that the ending seems to sneak up. Water is actually heard along with mechanical gears in the onset of "Of the Loss of Time," whose lyrics are taken from the Elizabethan poet John Hoskins' work of the same title. Harris mixes synthesized strings with Peck while Tucker chants in this more modern sounding piece with no clear tempo and long pauses. Each musical idea is independent yet with the echo and the counter tenor's legato vowelizations there is a shroud of mist that encompasses and binds the song together. More direct is the violin and piano conversation in "Journey to the Horizon." Harris and Peck at times sound like they are playing in different key signatures, yet the two instrumentalists deliberately and expertly continue their statements exhibiting excellent dynamics and musicality. "L'espoir d'été" loosely translates to "the hope of summer" and Harris plays a cheery lead on piano adorned with violin, bells, triangle and synthesized bass guitar sachets. His lovely grace notes on the keys and overlaid vocals at the end harbour tranquility. The most mesmerizing piece on The Journey's Threads is the violin featured "Song of the Trees." Peck is multi-tracked playing different voices crying their own lament, yet they all fit into each other by a greater design, like the giant canopy of an antediluvian forest. Harris plays classical guitar adding structure and a glint of sunshine as it pours down into the depths and touches the golden branches beneath the thick leaves. Faint electronic pings undulate quietly as the song hypnotically melds all the musical voices in and out of each other until finally fading away. Harris has been an avid composer for over fifteen years. Therefore it is not surprising how elite and polished The Journey's Threads is. The composer's unique instrument pairings and shrewd melodic weavings can easily bring modern music to a wider and more appreciative audience." Reviewer: Kelly O'Neil, Review You Rating: 4 stars REVIEW The music found on The Journey's Threads involves the three-fold combination of counter tenor Daniel Tucker's vocals, Michael Peck's violin and Ian Harris' piano and various electronic instrumentation. It's a 7-song release that veers among jazz, classical pop and what used to be termed new age music. This album, however, is under Harris' name. Harris is both a composer and a video artist based in the UK. He's a trained visual artist, with a BA in Fine Art, as well as a scholarly musician with an MA in music. One of his more fascinating past works is the music he created for a 2001 film version of a Thomas Mann novel, which was broadcast on BBC Radio 3. He's also worked on orchestrations for multi-instrument performances, some of which were presented at the famous spiritual event, Greenbelt Festival. The album's most classical sounding track is one titled "Walking Towards The Rainbow." It's a mid tempo piano piece that clocks in at 3:29. For whatever reason, it conjures up images of an Irishman searching for that pot of gold at the end of the rainbow. Maybe it's the word 'rainbow' in the title that brings such stereotypical pictures to the mind. Nevertheless, it's a pretty tune and quite a meditative one. "Of The Loss Of Time" makes excellent use of Tucker's vocals, as his voice simply soars over the instrumental section of the piece. This track is music put to a poem by John Hoskins, who was not only a writer of poems, but also a scholar of Greek, a lawyer, judge and politician. It's interesting to hear the way Tucker's voice plays off Peck's violin on this one. It's a credit to Tucker's singing ability that many times the listener may have trouble aurally discerning the difference between the vocal parts and the string parts. Tucker is such a spot-on singer when it comes to hitting the right notes, there are portions when his vocal and Peck's violin blend together nearly seamlessly. This is fascinating, and likely one of the probable reasons Harris chose to include both of these two artists on his project. "Journey To The Horizon," on the other hand, is an excellent collaboration between Harris and Peck. This one leans particularly close to the jazz spectrum of the stylistic continuum, as both Harris and Peck trade notes throughout. It leaves the overall impression of a jazz standard, only performed instrumentally. "L'espoir d'ete," is a slow, thoughtful piece. The project's finale, "Song of the Trees," multi-tracks the violin for both a beautiful and mysterious creation. One imagines environmentalism is near and dear to Harris' heart, as the cover photo on his album is a close-up of a very green leaf. The inside cover pictures a similar leaf, only this time a red one. Although it's difficult to pick out just one theme intended for this project, nature is one of it's bigger ones. In addition to the aforementioned "Song of the Trees," along with the leaf photography utilized in the CD's artwork, the land is mentioned in "Over Ice Land," clouds come up with "Between White Clouds" and God's amazing natural invention, the rainbow, plays into "Walking Towards The Rainbow." The overall impression left by this work is that of beauty. Beauty that is consistently found in nature, matched with beautiful music likely intended to reflect nature's beauty. Rock and pop music fans may be hesitant to investigate an album such as this one that prominently features a counter tenor singer in it's credits. For many, the very thought of a classical participant might give them cause to hesitate. However, once you hear what these three talented musicians have created together, your prejudices will likely disappear like a vapor. Reviewer: Dan MacIntosh, Review You Rating: 4 Stars (out of 5) REVIEW Those who haven't listened to a lot of new age releases might think of new age as a genre that is electronic 100% of the time. But while it is true that some new age recordings rely on electronic programming exclusively, that is by no means true of all new age recordings. Many other new age albums have successfully combined the electronic and the acoustic. On such albums, electronic programming and synthesizers are likely to be used alongside acous
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