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CD
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MTS 007CD
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A panoramic "wide screen" music which sounds like the missing link between the grandeur of Richard Wagner and the orchestral work of someone like Nick Cave. This is the ambition underlying Rite Of The End by the Polish composer Stefan Wesołowski, the second album to be released at Ici D'ailleurs following Kompleta in 2015 (MTS 004CD/LP). The album derives from an order from Stéphane Grégoire, boss of Ici D'ailleurs, who asked Wesołowski to write the music for a photo exhibition by Francis Meslet. The Rite Of The End by the composer's own admission ended up nothing like what had been initially ordered. Wesołowski shuffles the cards and mixes influences such as Prokofiev, Gregorian chants, Steve Reich or even Michael Mann. Rite Of The End is in fact actually quite close to Max Richter's classical surprises, a composer with whom Stefan Wesołowski shares a taste for elevation, and takes its religious source in Stefan Wesołowski's own childhood. He was born in 1985, in Poland, in the late Cold War era and is the son of a "spiritual and uncompromising" man who guided to the path of the beauty of the gesture. After having followed the same path as his two elder brothers and studied classical music, very early on he had a revelation thanks to a friend who was a Dominican monk. "We were teenagers," recounts Stefan, "and this friend asked me to write him liturgical songs. That's how it all started." As Wesołowski grew up, he lost his religious faith and transposed it into a growing belief, into what is called "beautiful music". A music which permits transcendence, contemplation, wonderment, because it is, in itself, the only means for man to extricate himself from his animal condition. Wesołowski also admits to a part of his musical education coming from the Beatles and the Stranglers, so it's understandable that the rituals here are those that push us every day to prostrate ourselves in front of two loud-speakers, regardless of the name of the gods. The six slow ceremonies of Rite Of The End are attractive through their praise of slowness and appreciation of the beautiful. This music is certainly classical in its foundations but is not when you listen to it. Americans would use the word unconventional. A term that fits Wesołowski perfectly, as he is punk to the very tip of his violin bow.
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LP
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MTS 007LP
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LP version. A panoramic "wide screen" music which sounds like the missing link between the grandeur of Richard Wagner and the orchestral work of someone like Nick Cave. This is the ambition underlying Rite Of The End by the Polish composer Stefan Wesołowski, the second album to be released at Ici D'ailleurs following Kompleta in 2015 (MTS 004CD/LP). The album derives from an order from Stéphane Grégoire, boss of Ici D'ailleurs, who asked Wesołowski to write the music for a photo exhibition by Francis Meslet. The Rite Of The End by the composer's own admission ended up nothing like what had been initially ordered. Wesołowski shuffles the cards and mixes influences such as Prokofiev, Gregorian chants, Steve Reich or even Michael Mann. Rite Of The End is in fact actually quite close to Max Richter's classical surprises, a composer with whom Stefan Wesołowski shares a taste for elevation, and takes its religious source in Stefan Wesołowski's own childhood. He was born in 1985, in Poland, in the late Cold War era and is the son of a "spiritual and uncompromising" man who guided to the path of the beauty of the gesture. After having followed the same path as his two elder brothers and studied classical music, very early on he had a revelation thanks to a friend who was a Dominican monk. "We were teenagers," recounts Stefan, "and this friend asked me to write him liturgical songs. That's how it all started." As Wesołowski grew up, he lost his religious faith and transposed it into a growing belief, into what is called "beautiful music". A music which permits transcendence, contemplation, wonderment, because it is, in itself, the only means for man to extricate himself from his animal condition. Wesołowski also admits to a part of his musical education coming from the Beatles and the Stranglers, so it's understandable that the rituals here are those that push us every day to prostrate ourselves in front of two loud-speakers, regardless of the name of the gods. The six slow ceremonies of Rite Of The End are attractive through their praise of slowness and appreciation of the beautiful. This music is certainly classical in its foundations but is not when you listen to it. Americans would use the word unconventional. A term that fits Wesołowski perfectly, as he is punk to the very tip of his violin bow.
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MTS 004CD
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2015 remastered reissue; originally released in 2008. Kompleta is the debut album by Polish composer Stefan Wesołowski (born 1985), composed in 2006 and originally released on the Gusstaff label in 2008, when Wesołowski was 21 years old. Kompleta portrays a universe deeply influenced by sacred music and offers clear, direct compositions and liturgical chants as powerful vectors for emotion. Performed by Wesolowski himself accompanied by Maja Sieminska, the album also features electronic arrangements by composer Michal Jacaszek, marking the beginning of Wesołowski and Jacaszek's productive collaborative relationship. A tangible spirituality emanates from these nine tracks, providing a contemplative, introspective experience for listeners. Kompleta is mainly based on strings (violins, viola, cello), but also manages to distance itself from traditional compositional methods by including subtle electronic touches to help anchor the work in a resolutely progressive dynamic. An ideal gateway to those universes where elegance and intensity are key. This edition is illustrated with new photographs by Françis Meslet. RIYL Greg Haines, Arvo Pärt, Nils Frahm, Steve Reich, Hildur Guðnadóttir, A Winged Victory for the Sullen, Jóhann Jóhannsson . . .
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MTS 004LP
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LP version. First vinyl edition.
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CD
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IMPREC 397CD
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Liebestod, by Polish composer Stefan Wesolowski, consists of repetitive compositions written for piano, brass instruments, strings, and electronics. The title itself is derived from Wagner's Tristan and Isolde, which says a lot about Wesolowski's primary inspirations. Liebestod shows a tremendous amount of respect for classical music but Wesolowski is far from making literal references to it. He shows his own unique musical language; rough and radical at some points, yet full of intense nostalgia and beauty. This album includes a contribution from Michael Jacaszek. Recommended if you like: Arvo Pärt, Steve Reich, William Basinski, Jacaszek, etc. Recorded in Old Town Hall, Academy of Music in Gdansk, on the Baltic coast, and at home in Sopot, 2011/2012. Realized with the financial support of The Polish Ministry of Culture and National Heritage, Mayor of Gdansk, Marshal of Pomorskie Voivodeship and City Culture Institute.
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