Libera - Luminosa
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Free Music Notes for Luminosa
Free Music Review: A downhill album...
Hit: 3 Stars
When I noticed this CD was out I was just on the fever of the first one, so I waited a little to buy it and to listen to it, and therefore, to review it. Now I can give my opinion.
Being a fan of the group (or band, as Prizeman wants it to be taken) I can say this album is halfway the first; what I expected to hear, what I expected to receive after Mr. Prizeman's declaration wasn't fulfilled... For me, this album is plain.
What could be rescuable are "Vespera", "Sacris solemnis", "Gaudete (Christus est natus)" [I've listened to the original version with the Oxford Camerata, this one has a Mid-Orient feelinf that makes it different], "Luminosa" and "Veni Sancte"; "Sanctus II" it's just a remixed version of the first one, more into radio (in fact, I heard this version on radio stations here, which never play this kind of music) but still good.
After the peak they reached with "Libera", they go downhill with "Luminosa", I hope they recover with the next CD cos the band worths it!
Free Music Review: Libera 1 is better...
Hit: 3 Stars
St. Philips Boys Choir's first four installments (ANGEL VOICES 1, AV 2, AV 3 and LIBERA 1) get 5 stars but LUMINOSA (LIBERA 2) isn't as superior. First of all, LUMINOSA has gotten too New Agey for my taste. AVs 1-3 are mostly classical songs with a dash of contemporary music; LIBERA 1 still has that classy aire, but somehow you'll feel that the boys are crossing to the "other side." In LUMINOSA, they have finally entered the realm of Enigma. Their version of Beethoven's piece sounds like a funeral march -- something out of an Addams Family recital, with Morticia as conductor.For me, the redeeming value of LUMINOSA are the "Ave Maria" and "Sanctus II" (because I like Pachelbel). I could have given LUMINOSA four stars if only the album had lyrics so I could keep up with the choir's singing. Unlike some listeners who just appreciate sounds -- the boys have lovely voices, yes -- I'm someone who also looks for content. I want to know the meaning of what I'm listening to.
Free Music Review: Revolting Aesthetic Castrations
Hit: 2 Stars
Libera is the marketing name of the St. Philip's Boys' Choir from South London, when they are accompanied by synthesizers, bass, and drums and performing material reminiscent of the pop singer Enya. In fact, her fans will probably be delighted with this recording, with it's "soft-focus" new age approach. Classical purists like myself will be sickened by the desecrations of works like Beethoven's 7th Symphony, Debussy's Clair de Lune, and Saint Saens' Carnival of the Animals. Pity poor Pachelbel, who's Canon has become one of the most mistreated compositions of all time--in the hands of arranger, composer, and conductor Robert Prizeman, the man responsible for Libera's artistic transgressions, that piece comes off far worse than I have ever before heard it.The purity of a child's voice is a marvellous thing, and the boys of Libera sing beautifully for the most part. So musical have children's voices been considered that that in an attempt to preserve that purity one of the most horrific practices in Western society was initiated, the castration of young boys. These boys became castrati, singers whose unusually pure voices were greatly prized until the middle of the 19th century. Today, although we still enjoy the sound of children's choirs, we recognize the practice of mutilation as a monstrous atrocity. Fortunately, no person was castrated for the making of this CD, but great art certainly was. My objection is to forcing works which epitomise a great composer's artistic vision into another and totally foreign aesthetic. Arguably the most revolting treatment here is that of the Allegretto from Beethoven's 7th Symphony. Like many of the arrangements it starts well enough, with the boys singing a capella, without accompaniment. But before the first minute is over, Beethoven is subjected to the white-wash of crossover, with drum machine, pop organ and bass added. The orchestration and counterpoint is simplified, and most of the dynamics removed completely. What in its original form is one of the most striking compositions of all time is completely emasculated. Compare the original to Prizeman's mutilation and you will see how truly horrifying the "updated" version is.
Perhaps I am being unnecessarily harsh. Surely most who know and love the original music Prizeman has arranged will find this at least disagreeable, but the original works by Prizeman, of which there are five, are less objectionable--his Silencium is actually quite beautiful. But I notice that Prizeman NEVER uses the drum machine in any of his own pieces in this CD--why then force it on Beethoven and Pachelbel?
I must admit that there is an audience for these adaptations. Crossover fans, raised on light pop, who prefer their music calming and meditative and who abhor dissonance or drama, will likely enjoy this. Every aspect of the CD is designed with just those bland, low-relief tastes in mind--the boy's singing is so heavily processed that the words are indistinguishable, and even though particular authors are cited in the notes, no texts are given. Several times the boys sing in Latin and English simultaneously, further obscuring the words. Even much of the printing on the CD is so small and in such a similar hue to the background that reading about the text is discouraged. On his webiste, Robert Prizeman has said of this work, 'Sadly, choirs do not easily cross musical barriers. I just hoped we could create a music that would creep up on listeners, and they would appreciate it without prejudice'. Frankly, I don't want his music creeping up on me.
Free Music Review: For New Ages Lover Only--not for Classical Fans
Hit: 2 Stars
I think P.B. missed Coleman's point entirely, although it certainly was scathing (but not ill-informed). The fact is that Prizeman USED Beethoven, and in a way that Beethoven certainly wouldn't have appreciated. Perhaps P.B. didn't notice, but when he bought Luminosa, he DID buy Beethoven, and Pachelbel, and Debussy, and all in a watered-down version from the original. If it hadn't mattered to Prizeman that it was Beethoven, then why use Beethoven? Why not just write 12 completely original pieces? P.B.'s analogy of the art exhibition is interesting, but parts of Luminosa seems to me like going to see a modern art exhibition and seeing a cartoon caracature of the Sistine Chapel, with most of the expression and drama wiped off and replaced with vacant smiles, and the whole thing done in soft-focus. My objection, and I think Coleman's, is why involve the music of the great masters in this? They suffer from their new age interpretations, in ways that the pieces written specifically for the CD do not.Free Music Review: Nothing fancy
Hit: 2 Stars
Heard the song "Ave Maria" from youtube.com and decided to buy this album. Overall its the only song that is well sang in the album while the others, well, not bad but not good as well. Since the price of the album is cheap therefore, cheap product with cheap quality. That's fair.