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Simon Holt : A table of noises. Currie, Hanslip, Collon.
Format : 1 CD
Durée totale : 00:57:13

Enregistrement : 2014-2015
Lieu : Manchester
Pays : Royaume-Uni
Prise de son : Stereo

Label : NMC
Référence : NMCD218
EAN : 5023363021821
Code Prix : DM018A

Année d'édition : 2017
Date de sortie : 02/05/2018

Genre : Classique
Simon Holt (1958-)
A table of noises
JUTE
ghost one
fly
ghost two
a drawer full of eyes
ghost three
Skennin' Mary
ghost four
table top/ghost five
under glass
St Vitus in the kettle
Witness to a snow miracle
Eulalia of Merida
the tearing, the burning
flames become birds
snowfall on ashes
witness
torments
halo

Colin Currie, percussion
Chloë Hanslip, violon
Orchestre Hallé
Nicholas Collon, direction

This fourth, full-length album of music by multi award-winning composer Simon Holt on NMC showcases his highly narrative orches tral compositions. His violin concerto witness to a snow miracle – here performed by the prodigiously talented Chloë Hanslip – depicts the story of the life, and particularly gruesome death, of St Eulalia of Merida. From the initial, frenzied cadenza in the solo vio lin we get a sense of the torment and horror the saint suffered at the hands of the Romans: her fl esh torn with hooks, fl ames applied to the wounds, and her body buried in hot coals. A blanket of snow fell on her ashes, at which point she was declared a saint. Holt's other award-winning concerto on this album is a much more upbeat and quirky affair. Written for and performed on this re cording by one of the world's fi nest percussionists, Colin Currie, a table of noises introduces us to Holt's taxidermist great uncle Ashworth, a kind of maverick scientist-cum-collector. Currie says "this percussion concerto exuberantly tears up the manual on how to approach t he medium and I am thrilled with the idiosyncratic, adventurous results". The soloist is seated on a cajon (a box-shaped instrument often used in fl amenco), and apart from the xylophone and glockenspiel, all the other instruments are laid out on a table in front of the solo ist; hence the title. Each brief movement has a descriptive title (eg. a drawer full of eyes (discovered by Holt’s mother in Ash’s bedroom tallboy and Skennin’ Mary (a neighbour with a glass eye that spun when she became angry) and is linked by fi ve “ghost” orchestral interludes. The short, dazzling, orchestral work St Vitus in the kettle was commissioned by BBC National Orchestra of Wales during Holt's tenure as Composer-in-Association (2008-2014). The grisly end for this saint was a cauldron of boiling hot lead!

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