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Ancient Music Ensemble of Kostjantin Chechenja. Music dialogues. Ukraine-England. | | Track Reviews (1) |
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Even before listening to this disc, I caught myself at reflecting on the following: Ukrainian mavkas should be the relatives to English elves and Irish shees. Moreover, if usual people contact with one another, then veiled people must be connected, too. I think that music, like language, is directly related to this. Have you noticed that Old English differs greatly from Modern English? The closer the language to its beginnings is, the more it hints at the existence of an ancient language understandable to everybody. The same with music. You feel old music not so much with your mind, as with your consciousness. The older the music, the deeper your feeling is. As for England, it is unlikely that somebody will deny the fact that it has deep roots. The same as Ukraine.
Publisher: Ethnodisc Catalogue number: CD-026-03 Year: 2003
See all albums and songs of the musician(s) on our site:
- Ancient Music Ensemble of Kostjantin Chechenja
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| CD1 |
| 1. |
| Estampi |
| 2. |
 | Jakscho Moji Pechali...
music: Jhon Dovlend (1562-1626)
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| 3. |
 | Navesni
music: Thomas Morly (1558-1602)
lyrics: William Shakespeare
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| 4. |
| Nemaje Zhyttja Bez Kohannja
music: Thomas Morly
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| 5. |
 | Dzvony
music: Tomas Robinson (XVII st.)
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| 6. |
| Sl. V. Shexpira Verba lyrics: William Shakespeare
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| 7. |
| Prelude
music: Henri Persjiel (1659-1695)
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| 8. |
 | Kolyskova
music: F. Pilkingtone
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| 9. |
| Sjujita (¹ 59, 55, 56, 60 z rukopysnoji zbirky XVII st.) |
| 10. |
| Kant z "Hramatyky musikijs'koji" M. Dylec'koho (bl. 1650-1723) |
| 11. |
| Lirnyc'ka Psal'ma "Hospody, Pomyluj" |
| 12. |
| ¹ 83 z rukopysnoji zbirky XVII st. |
| 13. |
| ¹ 117 z rukopysnoji zbirky XVII st. |
| 14. |
| ¹ 70, 35 z rukopysnoji zbirky XVII st. |
| 15. |
| A U Poli Richka |
| 16. |
| ¹ 204, 195 z rukopysnoji zbirky XVII st. |
| 17. |
| Oh Nesnosnym Zhalem |
| 18. |
| ¹ 156, 155, 130 z rukopysnoji zbirky XVII st. |
| 19. |
| Oj Perestan', Mij Najmyl'shyj, Do Mene Hodyty |
| | Total playing time: 50:39 |
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Fragments of the compositions marked with mark are available for listening. How to listen?
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The new studio album by Nina Matvienko introduces us to still little known facets of the famous singer's talent. The nineteen compositions dating from the 16th-18th centuries belong to the so-called "Hetman Era" – the epoch of formation and blossoming of the Ukrainian Baroque. The unique pieces were restored based on ancient manuscript...
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...this music is characterized by its own, very special, fragile beauty – some indescribable, unbelievable internal harmony, a light flow of internal streams. Even if you till now have not encountered it – it seems to me that a few minutes will be enough in order to plunge just one's head deep into quite a different space. The space in which every sound, every pause is something...
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Celtic, English, German, Austrian, Dutch, Jewish music of the 12-17th centuries. This is the music of those days when there lived goddesses-guardians and men did not feel embarrassed to consider their opinions.
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...we may find out that all that is one indivisible canvas .. melodies of different countries are similar to one another and at the same time they are different like children of the same parent...
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, Sydney, Australia
24-02-2007 10:26 |
Hm, what can I say? Medieval music via England turns out to be the least appealing set in this series for me. I'd recommend any of the eastern European entries over this one. The English set has a higher proportion of tracks with singing ("a hey-nonny-nonny" and such), less baroque melodies - for want of better term - and also the production quality of the tracks is more variable. Some recordings have a particularly nasal quality. Perhaps they were drawn from different source recordings by the ensemble over time. Ultimately, this is my least favourite CD in the series.
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