Eötvös: Halleluja & Alle vittime senza nome

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The performance of the Oratorium is breathtaking. I was overwhelmed by the precision the composer brings to the playing of this remarkably complex work. All of the performers seem to be in one... — Fanfare, May/June 2020 More…

Release Date: 1st Nov 2019
Catalogue No: WER73862
Label: Wergo
Length: 74 minutes

Gramophone Awards

2020

Finalist - Contemporary

Usually despatched in 3 - 4 working days

Eötvös: Halleluja - Oratorium balbulum

Work length50:04

Album only

Topi Lehtipuu, Iris Vermillion, Matthias Brandt
WDR Sinfonieorchester
Peter Eötvös

Erster Teil

Track length16:48

Album only

Zweiter Teil

Track length12:26

$2.00

$2.80

Dritter Teil

Track length11:11

$2.00

$2.80

Vierter Teil

Track length9:39

$1.50

$2.10

Eötvös: Alle vittime senza nome

Work length24:27

$4.50

$6.30

Orchestra dell'Accademia Nazionale di Santa Cecilia
Antonio Pappano

Track length4:51

$1.00

$1.40

Track length7:35

$1.50

$2.10

III

Track length12:01

$2.00

$2.80

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Halleluja – Oratorium balbulum' is a portrait of the times in which we live, says Peter Eötvös. It is a sarcastic work with postmodern medley passages across music history. The plot takes place on several levels: among the performers as well as with the audience in the concert situation. The language is frighteningly clear, as is the rest of the situation we encounter: We experience Eötvös’s polyglot vision not so much in the language as in the music. There are numerous more or less recognizable quotations from Gregorian chant, Monteverdi and Schein; from Bach and Handel, as well as from Mussorgsky and Gospel music. Alle vittime senza nome [To the Nameless Victims], a purely instrumental work, makes no use of language and nevertheless succeeds in conveying the images and experiences of our time. In three movements, the journey of those seeking protection is illustrated by music in a free narrative style, with delicate solo passages as well as broad waves of sound in the orchestra.

Reviews

May/June 2020

The performance of the Oratorium is breathtaking. I was overwhelmed by the precision the composer brings to the playing of this remarkably complex work. All of the performers seem to be in one mind with the music. Conductor Antonio Pappano’s conducting is so assured and inspired that one would think that he had conducted this work many times. The playing of both orchestras is beyond reproach. The recorded sound is excellent.

February 2020

It is not difficult to appreciate the quality of the musical setting, nor the splendid live performance captured in Cologne in 2017. The performers sound at one in their presentation, whether in the hushed choral comments or the chiming percussion that dominates some sections. The whole is more than the sum of its fragments, compelling and involving.

January 2020

Excellent performances of stimulating and important music.

7th November 2019

[Hallelujah] is not a conventional oratorio in any sense, but a wry, often cynical riff on the form, which never takes itself totally seriously...After the polyglot uncertainties of Halleluja, Alle Vittime senza Nome is a much more straightforward memorial...It’s a work built on melodies, some with a vaguely Middle Eastern tang, some more frankly elegiac, and switching between frantic activity and motionless quiet.

Eötvös: Halleluja & Alle vittime senza nome

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