ラビリンス

古楽からポップスまで!
新たな発見を生み出す意欲的アルバム!

オーケストラ・オヴ・ザ・スワンによるクラシック・ファンのみならず、ニュー・エイジ・ファンにもおすすめの意欲作!

前作の「タイムラプス」(SIGCD662)と同じように意欲的なプログラムに取り組んだ今作。ブクステフーデから始まり、現代音楽だけでなく、ロックやポップスといったジャンルも含めたアルバムとなりました。文化的にも時間的にも全く違った音楽を聴くことによって、意外なつながりを発見するなどジャンルレスに楽しめるアルバムに仕上がっています。
東京エムプラス

The Orchestra of the Swan is known mostly for recordings of early 20th century orchestral music. The group has done thematic albums, but the COVID-19 pandemic has seen it shift to programs that mix diverse materials under a single concept. One might use the word crossover for these efforts, but they strive not toward the familiar but toward surprise. In this case, there is a general title, Labyrinths, plus the reader learns that the music focuses on "ideas of pilgrimage, contemplation, exploration and enlightenment." Moreover, "[t]hemes of isolation, distance and a longing for human connection are filtered through beautifully atmospheric and exquisitely rendered sound worlds." All this may be a little hard to pin down, but the music speaks for itself, achieving the difficult trick of being both meditative and varied. Conductor David Le Page, who also wrote the elegant notes, draws on classical pieces from a 14th century Italian song with darbuka to Nico Muhly, progressive rock (Brian Eno, Joy Division), folk singing, film music (a Yann Tiersen piece from the well-worn Amelie score is here), and even jazz, in a unique and entirely fresh arrangement of a Buxtehude Lamentation by pianist David Gordon. Le Page and the Orchestra of the Swan have been breaking new ground in orchestral programming, and listeners are invited to check it out. Signum Classics sound, from Saffron Hall, is entirely in line with the albums aims, with a sheen but also some depth.