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Golijov - Oceana

Dawn Upshaw (soprano)

Atlanta Symphony Orchestra & Kronos Quartet, Robert Spano

Golijov - Oceana

Awards:

With its boldly flavoured mix of styles, Golijov's Oceana (1996) looks forward to the St Mark Passion (2000) – the work that put him on the musical map. The solo part was written for renowned...

Golijov - Oceana

Dawn Upshaw (soprano)

Atlanta Symphony Orchestra & Kronos Quartet, Robert Spano

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320 kbps, MP3

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This release includes a digital booklet

Stream now lossless, 44.1 kHz, 16 bit

Awards:

With its boldly flavoured mix of styles, Golijov's Oceana (1996) looks forward to the St Mark Passion (2000) – the work that put him on the musical map. The solo part was written for renowned...

About

Contents and tracklist

1. Call
Track length3:30
2. First Wave and Rain Train Interlude
Track length1:38
3. Second Wave
Track length2:41
4. Second Call
Track length2:10
5. Third Wave
Track length2:11
6. Aria
Track length5:32
7. Coral del Arrecife (Chorale of the Reef)
Track length8:27
1.
Track length6:10
2.
Track length6:44
Night of the Flying Horses
Track length7:25
2. Lúa Descolorida
Track length6:05
How Slow the Wind
Track length8:03

Awards and reviews

  • Gramophone Magazine
    September 2007
    Disc of the Month

2010

With its boldly flavoured mix of styles, Golijov's Oceana (1996) looks forward to the St Mark Passion (2000) – the work that put him on the musical map. The solo part was written for renowned Brazilian jazz singer Luciana Souza whose solos range from impassioned invocation to angular yet elegant breeziness. The choral part is of equal prominence, however, and some of it sounds surprisingly reminiscent of Philip Glass.
The final section, 'Chorale of the Reef', makes the most powerful effect, with mesmeric, overlapping phrases, chant-like rhythms and darkly radiant harmonies. The Atlanta Chorus sing it with rapt conviction.
Oceana ebbs away to haunting silence, providing a natural segue to Tenebrae (2002), a lament for string quartet that somehow smiles through its tears. Generous arcs of slow-moving melody – often with trembling accompaniment – evoke the great Renaissance masters. Golijov introduces earthier elements – exotic scales, anxious heartbeats, flickering firelight – and the work comes full circle, concluding with a consoling meditation on a hopeful cadential gesture. Kronos, the dedicatees, give a heartfelt performance.
The Three Songs are drawn from diverse sources. 'Night of the Flying Horses' is adapted from Golijov's music for Sally Potter's film TheMan Who Cried. The drop-dead gorgeous lullaby Dawn Upshaw intones at the beginning echoes Bizet's 'Je crois entendre encore' (an aria featured in the film), while the rhapsodic instrumental conclusion is inspired by Balkan gypsy band music. 'Lua descolorida' is yet another demonstration of Golijov's gift for melody – and for establishing an other-worldly atmosphere through the simplest means. Upshaw rightly describes it as the saddest C major song she knows. 'How Slow the Wind' (Emily Dickinson) taps into a vein of Mahlerian sorrow while ravishing the ear. Upshaw's love for this music is palpable in every bar, and Spano and the Atlanta Symphony provide firm yet supple emotional support. Absolutely not to be missed.

September 2007

Choral power, a lamenting quartet and gorgeous songs: it's Golijov to savour.
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