Shapeshift Ensemble

Shalygin: Lacrimosa or 13 Magic Songs

For all the varied techniques to be applied in the work, its emphasis is on the emotion, its aspiration to capture the listeners’ minds, immersing them in the atmosphere of each part. This idea can be realised only by a multi-voice single-timbre ensemble of violins, at once a unity and a multitude, one soul and its many voices, a number of people struggling to come at peace with the world, one another, and silence…

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About the album

Writing music for the common 20th-century types of classical ensembles that comprise a variety of instruments, has lost its appeal to me over the last couple of years. My musical forms tend to show a reduction to homogeneous instrumental compositions: the Marian Antiphons for 12 voices a cappella, the Insane Dances for saxophone quartet, Six Bagatelles for Two Violins, the Suite – Homage to Alfred Schnittke for three cellos, and many more. And thus, I conceived of a cycle over a lifetime, titled Similar, and its first chapter is to be the Lacrimosa or 13 Magic Songs for seven violins.

Lacrimosa or 13 Magic Songs is a lamentation, man’s final prayer before Judgement. This prayer can at once be incisive and show the various states of mankind: gleeful, repenting, fearful, lamenting, faithful… During the performance of the 13 Songs, the listeners’ souls are supposed to pass through a series of excruciating, excessive stages, to finally reach a catharsis. This direction determines the cycle’s dramaturgic structure.

My aim is to transform an immediate, openly emotional response to powerful impressions — something most contemporary art refuses to deal with — into the musical form of the Lacrimosa. For all the varied techniques to be applied in the work, its emphasis is on the emotion, its aspiration to capture the listeners’ minds, immersing them in the atmosphere of each part. This idea can be realised only by a multi-voice single-timbre ensemble of violins, at once a unity and a multitude, one soul and its many voices, a number of people struggling to come at peace with the world, one another, and silence…

Tracklist click to play/pause

  1. Lacrimosa or 13 Magic Songs: I. Light Maxim Shalygin 3:17
  2. Lacrimosa or 13 Magic Songs: II. Horns Maxim Shalygin 4:20
  3. Lacrimosa or 13 Magic Songs: III. Air Maxim Shalygin 5:09
  4. Lacrimosa or 13 Magic Songs: IV. Insects Maxim Shalygin 3:08
  5. Lacrimosa or 13 Magic Songs: V. Rainbow Maxim Shalygin 7:31
  6. Lacrimosa or 13 Magic Songs: VI. Lullaby Maxim Shalygin 5:52
  7. Lacrimosa or 13 Magic Songs: VII. Stream Maxim Shalygin 3:55
  8. Lacrimosa or 13 Magic Songs: VIII. Rain Maxim Shalygin 4:15
  9. Lacrimosa or 13 Magic Songs: IX. Madness Maxim Shalygin 4:20
  10. Lacrimosa or 13 Magic Songs: X. Melancholia Maxim Shalygin 5:53
  11. Lacrimosa or 13 Magic Songs: XI. Sirens Maxim Shalygin 5:10
  12. Lacrimosa or 13 Magic Songs: XII. Prayers Maxim Shalygin 5:36
  13. Lacrimosa or 13 Magic Songs: XIII. Roundelay Maxim Shalygin 10:23

More information

Label

TRPTK

Genre(s)

Classical – Contemporary (> 1920)

Artist(s)

Maxim Shalygin
Shapeshift Ensemble

Composer(s)

Shalygin, Maxim

Recording location(s)

Muziekhuis, Utrecht (NL)

Recording date(s)

March 2018

Recording format

PCM 352.8kHz 32bit

Cat. No.

TTK 0020

Release date

April 18th, 2018

Additional links

Download Booklet(PDF)

"The performance is beautifully engaging. With excellent technical tools, no stone was left unturned in terms of recording quality. The album offers a fascinating experience, like when in Insects, 28 strings produce a swarm of mild harmonics, and pizzicati give an impression of a huge downpour of rain."

Jan de Kruijff, Musicalifeiten

"… the music turns out to be an incredibly intense experience of the highest artistic quality imaginable. […] This music is highly expressive and deeply authentic, crafted by a highly talented composer that I can only recommend checking out."

Moritz Eggert, composer

"Shalygin guides us through a scala of emotions, where feelings of despair, dread and anger dominate; the apocalypse is never too far away."

Thea Derks, De Cultuurpers

"The mirror that is held before us is distorted, the unpredictability of it is just as fascinating as the monolothic sound fields."

Aart van der Wal, Opus Klassiek

"In thirteen movements for seven violins, the composer showed how to get raindrops of pizzicati, furious swarms of bows, and soft veils of overtones, from 28 strings."

Joep Christenhusz, NRC Handelsblad

Further reading

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