Customer Reviews

Requiem For My Friend - Preisner / Rewakowicz, Kasprzyk, Sinfonia Varsovia, et al

5 star:		(17)
4 star:		(5)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

Preisner is as enigmatic as ever; locked in the depths of countless minor chords, one is never really sure if he is choosing to inhabit that space or if he is simply incapable of existing elsewhere successfully.

Nonetheless, his tribute to Kieslowski is moving and melodious, and one really gets the sense that he has written "Requiem" as a soundtrack for Kieslowski's life. The first half is a traditional "requiem" and sounds very funereal. The second half, "Life" is somewhat more dynamic and features saxophone soloist Jerzy Glowczewski.

At one point in "Life," Preisner quotes the "Blue" soundtrack's "Song for the Reunification of Europe," which for me immediately blurred the lines between Preisner, De Courcy, Van Den Budenmeyer, Kieslowski, their lives, and their work.

The entire recording features incredible soprano soloist Elzbieta Towarnicka, who was also featured in the soundtracks for "The Double Life of Veronika," as well as "Red" and "Blue," all three of which were films by Kieslowski.

It is difficult to say whether Preisner will hold a place as a memorable composer, when compared to other 20th century giants like Stravinsky or Ravel. However, with "Requiem" he manages to capture the zeitgeist of the late 1990's and to turn a handful of beautiful phrases comparable to those we have seen throughout his other work.

Ultimately it seems to me that Preisner may be the John Williams of the minor keys; this is not bad company to keep. It will be interesting to see how Preisner's music continues to evolve, and whether he will choose to compose outside of the space of film. If he does choose to extend his reach, the real test will be whether listeners and critics will be able to successfully cross the boundaries between life, fiction, and film that Preisner and Kieslowski have already so successfully blurred.

I heard this piece while browsing the classical record racks at a record store, and couldn't resist purchasing the CD. This 2-part composition--divided into "Requiem" and "Life"--works much better if each section is treated as a separate composition (which is what they probably are). The "Requiem" (Part 1) indeed borders on astounding. It defies a label. It feels classical--even darkly medieval--yet is still plainly late 20th century music. It is haunting, other-worldly, moving, and powerful in its useage of simple resources. In all, a piece of modern classical music that can stand beside the Gorecki 3rd. The 2nd part--"Life"--suffers mostly when it is listened to immediately following the "Requiem". By itself its worthy enough, but the stylistic differences between the 2 don't mesh. "Life" has much more of a film music / New Age feel to it. Instead of the intimate string quintet, percussion and pipe organ accompanying the vocal soloists heard in "Requiem", we now hear full orchestra and chorus belting out "Carmina Burana"-like passages; instead of completely original music, we now hear musical sections that could have accompanied "Titanic" to the bottom. Its still not bad, but it just doesn't reach the lofty heights achieved in the more simply done "Requiem". In short, "Requiem for my Friend" is much more satisfying for its opening half--an outstanding bit of music making!

This is a major work. If he were not so well known as a film composer, on the one hand, this work would bring him glory. But film composers rarely get respect in the classical world, even when crossing over.) I think Preisner easily ranks with Gorecki and Paart. No question. He writes in the voice of our era. On the other hand, if he wasn't so well respected in the film world, I doubt he could have gotten recorded here. To all that has been said by others here, I would only draw your attention to the "Lacrimosa." Perhaps the version in Part Two, Life: Apocalypse: Lacrimosa-Day Of Tears is the one that would appeal to the most people (although I prefer the version in Part One of the disk). If you're wanting surcease from events "apocalyptic" - either personally or nationally (a la 9/11) - listening to this can be like words to a friend, a voice from beyond (or to the Beyond)... It is the apotheosis of grief. Let the majestic chords wash over you like the ocean, cleansing and diminishing all obstacles with its power. An uncanny experience; and so highly recommended.

"Requiem For My Friend" is Zbigniew Preisner's first large scale orchestral work outside of film scores. Having been responsible for scoring many of Krzysztol Kieslowski films, among them being the widely acclaimed three colour trilogy Blue, White and Red...This Requiem is Preisner's tribute to Kieslowski who he had worked so closely together with, Kieslowski died in 1996.

The Requiem isn't on a grand scale and it can hardly be compared to the Requiems of Mozart, Brahms, Faure, Verdi but it is captivating nevertheless. The Requiem is scored for 5 male singers and a soprano, Elzbieta Towarnicka the soprano has in the past been a fixture in Preisner's works and as usual her vocal parts within the Requiem are very good as well as the other 5 singers that have a helping hand. The vocals are powerful, deep and very bassy with a string quintet, organ and pecussion interlaying with the vocal parts.

Granted Part Two: Life isn't as good as the Requiem but its better than most people would give it credit for. Life was intended for a play, opera combination that would materialize into others that would take place through out the world...this one in particular was to be on the Acropolis in Athens, Preisner would score and Kieslowski direct. For the obvious reason this project never got off the planning stage. I can draw some direct comparisons to Life to any one of his film scores but as well there is new ground threaded here.

Zbigniew Preisner is the finest when it comes for scoring films, he has a more direct approach to classicalism more so than others who try juggling classical with pop. I just think he's one step away from doing that masterpiece and it will eventually happen.

This evocative composition, as it slowly unfolds, takes the listener on an emotional and spiritual journey. Whether or not you understand all of the segments of the traditional Latin Requiem text, plus the additional Greek and Polish lyrics, the piece is powerful to both the inexperienced and highly discerning listener. Listeners will observe the work to be in two distinct parts with contrasting vocal and orchestral forces; however, concept, thematic material, and composition style help to unify this disparate pairing of forces.

The first part features a highly unusual adult male SATB quartet, soprano soloist, string quartet, organ, and percussion.
The second part's vocal forces include an SATB choir, soprano and countertenor soloists, plus an additional voice sung on this recording by a youth. The orchestral forces of the second part include the large symphonic forces of a film score, and some unusual instruments for a Requiem including alto saxophone and cimbalom.

One of the features that make this recording particularly successful is the acoustics of the recording locations: the two utilized for this recording are extremely rich with reverberation. This reverberation sustains the long musical lines and fills the piece to accommodate the slowly unfolding harmonic progressions. Architecturally, the work's construction is solid, with structural pillars unifying the first and second parts, with a definite roadmap to take the listener on an emotional journey.

I am delighted to hear this recording before conducting its American premiere at 4:00 p.m. on Sunday, March 5, 2006 at First Presbyterian Church in Fort Wayne, Indiana. For additional information, call (260)426-7421 ext. 24.

The music is haunting, and achingly beautiful. I am not one who especially loves the operatic soprano voice, and about the only opera I an take is Puccini. However, if you like the solo in Gorecki's Sym. #3, for example, you will love this cd. The sound is fine, with a cathedral-like ambiance. I own over a thousand classical cds and this is on my top 50 rack.

This is a beautiful recording which I first heard played in its entirety on a small college radio station. I can't speak to it musically, I can only say that when I listen to it, so many interesting thoughts waft through my mind. In particular, I think of certain films-- "The Cook, The Thief, His Wife and Her Lover" and "The Blood Oranges." Something about the soaring vocals on this recording reminds me of the sound tracks to those films. If you like off-beat classical music with beautiful vocals, this CD is for you.

After reading the above reviews, I have listened to the album again. I too feel there is a definite difference between the two sections, but isn't that the intent? The first section is quite haunting and glorious, befitting a requiem mass. The music to me does connote 'the end'. But the second part, which some seem to have issue with, is celebrating life. Why would it not be open-ended and more expansive? The alto sax conveys life, but with sadness, which seems appropriate. I feel that the stark contrast between the two sections is necessary and important. Without it, this would be just another fabulous classical composition, with only the titles to separate the pieces.

In "The Double Life of Veronique", there is a haunting concerto for soprano, chorus and orchestra. I had always intended to look into getting more of Preisner's work, but it was only during a browse that I came across the "Requiem for my friend" in a department store in Sydney.

It's a marvellous piece of music, and I especially enjoyed the "Lachrymosa" and the "Kai Kairos", as well as the final "Prayer"

What a pity that Kieslowski and Preisner never got to realize their dream of "a series of musical performances to be developed in various interesting places around the world".

That really would have been something.

Fact: Years ago I was stunned by Fratres and Tabula Rasa by a composer hardly anybody heard of, named Arvo Part. A little later I pulled off the side of the road, being arrested by the power of Symphony No. 3 by Gorecki. Now, along comes Requiem For My Friend. This is great music, in the same league as these.