Composer: Max Richter
Performer: Angèle Dubeau, La Pietà
Format: FLAC (tracks)
Label: Analekta
Catalogue: AN28745
Release: 2017
Size: 1.15 GB
Recovery: +3%
Scan: yes
01. The Leftovers Main Titles (From “The Leftovers” – Season 1)
02. Dona Nobis Pacem 2 (From “The Leftovers” – Season 1)
03. November (From “Memoryhouse”)
04. The Journey, not the Destination (From “Black Mirror – Nosedive”)
05. Autumn Music 2 (From “Songs From Before”)
06. She Remembers (From “The Leftovers” – Season 1)
07. Fragment – Embers (From “Memoryhouse”)
08. On the Nature of Daylight – Written on the Sky (From “The Blue Notebooks” and “Disconnect”)
09. Sketchbook (From “Memoryhouse”)
10. The Consolations of Philosophy (From “Black Mirror – Nosedive”)
11. Andante/Reflection (End Title) (From “Valse avec Bachir”)
12. Departure (Lullaby) – The Quality of Mercy (From “The Leftovers” – Season 1 and 2)
13. Luminous (From “Perfect Sense”)
14. Path 19 (Yet Frailest) (From “From Sleep”)
15. Mercy
16. Winter II (From “Recomposed by Max Richter, Vivaldi The Four Seasons”)
Analekta is very proud to announce the release of Portrait: Max Richter by Angèle Dubeau & La Pietà. “I devote my new Portrait album to Max Richter and his impressive body of powerful and original works. I have selected sixteen works with his unique signature, which I revisit here with my violin and my orchestra, La Pietà.” – Angèle Dubeau O.C., C.Q., DFA Max Richter is one of the most influential composers of his generation.
Inspired by Bach, punk rock and ambient electronic music, he has composed works for more than 50 films, including Waltz for Bashir, Shutter Island by Martin Scorcese and Arrival by Denis Villeneuve, as well as HBO’s The Leftovers television series.
This release by French-Canadian violinist Angèle Dubeau falls into a category that hardly existed at the turn of the century, but now has grown increasingly common: the solo recording devoted to music by minimalist composers. These have grown more common, but Dubeau and her all-female ensemble La Pietà have made it into something of a specialty, releasing albums devoted to John Adams, Arvo Pärt, Philip Glass, and Ludovico Einaudi. This one, taking up music by Max Richter, adds a sort of double wrinkle, for some of Richter’s compositions are based on (or, to use his word, “recomposed”) existing works, some quite familiar. Thus making a violin version is a sort of double recomposition. This said, the album is consistent with what Dubeau has done in the past. A major unsung contributor is her co-arranger François Vallières; the two neatly answer the question of how you can make a virtuoso violin album out of the generally basic, melodic material of minimalism. Dubeau’s violin weaves gracefully around the ensemble, sometimes barely audible, sometimes coming more to the foreground, sometimes adding an eerie element with harmonics. What you’re getting here is ambient, minimalist textures, with little variety in mood and tempo, but the effects are quite subtle within this frame. You could try this out if you’ve seen Dubeau’s recordings notching strong sales in Canada and elsewhere, and have wondered what they’re all about.