℗ 2016 Delphian
Released | June 24, 2016 |
Duration | 1h 12m 06s |
Record Label | Delphian |
Catalogue No. | DCD34168 |
Genre | Classical (Vocal Ensemble) |
James MacMillan: Since It Was the Day of Preparation
Hebrides Ensemble, Brindley Sherratt, Synergy Vocals
Available in 48 kHz / 24-bit AIFF, FLAC audio formats
Since It Was the Day of Preparation
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1.1
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Part I: Introduction
James MacMillan; Elizabeth Kenny |
3:08 | |||
1.2
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Part I: The Pierced Christ
James MacMillan; Benedict Hymas; Hebrides Ensemble; William Conway |
3:20 | |||
1.3
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Part I: Interlude
James MacMillan; William Conway |
2:36 | |||
1.4
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Part I: The Burial
James MacMillan; Tom Bullard; Hebrides Ensemble; William Conway |
3:04 | |||
1.5
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Part I: Interlude
James MacMillan; Hebrides Ensemble; William Conway |
4:18 | |||
1.6
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Part II: The Empty Tomb
James MacMillan; Synergy Vocals; Hebrides Ensemble; William Conway |
2:43 | |||
1.7
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Part II: Interlude
James MacMillan; Yann Ghiro |
4:07 | |||
1.8
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Part II: The Appearance to Mary of Magdala
James MacMillan; Brindley Sherratt; Synergy Vocals; Hebrides Ensemble; William Conway |
7:07 | |||
1.9
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Part II: Interlude
James MacMillan; Gabriella Dall'Olio |
3:11 | |||
1.10
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Part II: The Appearances to the Disciples
James MacMillan; Brindley Sherratt; Synergy Vocals; Hebrides Ensemble; William Conway |
7:44 | |||
1.11
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Part II: Interlude
James MacMillan; Hebrides Ensemble; William Conway |
4:08 | |||
1.12
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Part III: The Appearance on the Shore of Tiberias
James MacMillan; Brindley Sherratt; Synergy Vocals; Hebrides Ensemble; William Conway |
17:12 | |||
1.13
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Part III: Interlude
James MacMillan; Stephen Stirling |
4:09 | |||
1.14
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Part III: Conclusion - Postlude
James MacMillan; Synergy Vocals; Hebrides Ensemble; William Conway |
5:19 | |||
Digital Booklet
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"Five Stars ... in an extraordinarily perceptive and affecting manner it broaches enduring universal issues and, in this wonderfully committed recording, already feels like a modern masterpiece."
- BBC Music Magazine
"... a highly impressive work ... so imaginative and inventive is the writing, not least in the way the instruments are used, that often one is not conscious that so few performers are involved: the score is, in this respect, greater than the sum of its parts ... (the performance) must be regarded as definitive for here we have the artists who first performed the score, recorded in the presence of the composer ... the sound has presence, clarity and ambience ... should bring the work to the wider audience it deserves."
- MusicWeb International
In this "postscript" to his St. John Passion, Scottish composer James MacMillan explores the biggest mystery in the greatest story ever told: Christ’s resurrection. At times plaintive and lyrical, at others reaching into the far corners of tonality, this masterpiece finds a very human basis in something divine. With just five instrumentalists and five singers, MacMillan’s scoring is as intimate as the story itself, full of despair and sacrifice, but also ultimately a celebration. MacMillan has dedicated the work to William Conway, cellist and artistic director of the Hebrides Ensemble who led the commission. Joining the Hebrides musicians are the four members of the Synergy Vocals and bass soloist Brindley Sherratt.
48 kHz / 24-bit PCM – Delphian Studio Masters
Recorded on 28-29 November 2015 at RSNO Centre, Glasgow Producer/Engineer: Paul Baxter 24-bitdigital editing: AdamBinks 24-bit digital mastering: Paul Baxter Cover & booklet design: Drew Padrutt Booklet editor: John Fallas Cover image: after Rogier van der Weyden (1399/1400–1464), The Descent from the Cross, oil on oak panel (220cm x 262cm), MuseodelPrado,Madrid Photography © Tim Morozzo
Recorded on 28-29 November 2015 at RSNO Centre, Glasgow Producer/Engineer: Paul Baxter 24-bitdigital editing: AdamBinks 24-bit digital mastering: Paul Baxter Cover & booklet design: Drew Padrutt Booklet editor: John Fallas Cover image: after Rogier van der Weyden (1399/1400–1464), The Descent from the Cross, oil on oak panel (220cm x 262cm), MuseodelPrado,Madrid Photography © Tim Morozzo
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -3.39 -15.88 to -0.40 | -27.01 -39.50 to -18.98 | -22.22 -34.90 to -13.80 | 14 11 to 23 | |
1 | Part I: Introduction | -4.55 | -39.50 | -34.9 | 23 |
2 | Part I: The Pierced Christ | -8.78 | -36.07 | -31.4 | 16 |
3 | Part I: Interlude | -7.78 | -30.81 | -26.5 | 13 |
4 | Part I: The Burial | -15.88 | -38.38 | -34.7 | 14 |
5 | Part I: Interlude | -0.40 | -22.43 | -18.9 | 14 |
6 | Part II: The Empty Tomb | -0.40 | -18.98 | -14.7 | 12 |
7 | Part II: Interlude | -0.40 | -24.88 | -18.1 | 14 |
8 | Part II: The Appearance to Mary of Magdala | -3.44 | -26.50 | -22.7 | 14 |
9 | Part II: Interlude | -0.43 | -24.35 | -20.0 | 14 |
10 | Part II: The Appearances to the Disciples | -0.40 | -23.39 | -18.9 | 14 |
11 | Part II: Interlude | -0.40 | -25.41 | -17.5 | 14 |
12 | Part III: The Appearance on the Shore of Tiberias | -0.40 | -22.80 | -18.6 | 14 |
13 | Part III: Interlude | -0.40 | -21.00 | -13.8 | 11 |
14 | Part III: Conclusion - Postlude | -3.87 | -23.71 | -20.4 | 11 |