Performed by the Sydney Symphony Orchestra and featuring the Sydney Philharmonia Motet Choir and Synergy under the direction of Stuart Challender and Edo de Waart.
Born in Perth in 1954, Vine is one of Australia's most prolific and versatile composers. Carl Vine’s six symphonies trace concisely the evolution that brought him back to the original symphonic tradition that modernity temporarily curtailed.
Carl Vine's metaphor for his own symphonic practice is drawn from the natural sciences: composition begins with a ‘crystal’, a musical idea whose characteristic angles and planes are explored and transformed in the course of the work’s creation. This process of transformation, of presenting material in varying lights, coupled with the composer’s sense of timing, makes for a series of works whose inherent drama is considerable.
Carl Vine writes Big Tunes. More, he scores them with Technicolour richness ... his music is rhythmically cogent (I was occasionally reminded of Roy Harris or of Copland) and makes frequent use of ostinato ... some of his most striking effects are in fact quite complex, with richly embroidered polyphony and multiple ostinatos that enable the music to move at two different speeds at once. There is abundant floridly ornamental melody, but beneath the tendrils the melodic substance is often quite simple, even innocent, derived from scale figures or brief cells... . What he wants to do is write big orchestral pieces at the end of which people feel better. I did, and so did the Sydney Symphony Orchestra, by the sound of it.
Michael Oliver, Gramophone, September 1995
Flac + cue + log ripped with XLD.
Covers & Notes included