Canto Ostinato contains the World Première recording of three unique orchestral works from Simeon Ten Holt, one of the Netherlands most iconic 20th century composers. The three works included on the album are performed by the North Netherlands Orchestra (Noord Nederlands Orkest) conducted by David Porcelijn. It was recorded live in concert at the Oosterport in Groningen, the orchestra’s home concert hall.
The album includes the first recording of Anthony Fiumara’s orchestration for Symphony Orchestra of Ten Holt’s seminal work “Canto Ostinato” along with two additional works by the composer, that for unknown reasons prior to this recording, had never been previously performed. This is a double album, presented in Stereo and 5 Channel Surround Sound DSD, featuring extensive liner notes.
North Netherlands Orchestra (Noord Nederlands Orkest)
David Porcelijn, Conductor
Total time: 01:52:08
DSD 512 fs, DSD 256 fs, DSD 128 fs, DSD 64 fs, DXD 24 Bit, FLAC 192 kHz, FLAC 96 kHz
Sphinx + Horus
Pyramix, Merging Technologies
|Original Recording Format|
|Recording Type & Bit Rate|
combination: Sphinx DSD 64fs + Horus DSD 256fs
|Release Date||November 6, 2020|
Simeon Ten Holt For Orchestra
Arguably the best-known work of Dutch composer Simeon Ten Holt (1923-2012), Canto Ostinato was originally scored for one or more keyboards. It consists of more than 100 short sections that contain five beats to the measure, most of which can repeat as many times as one desires. Voicing and registration generally are left up to the musicians. Consequently, performance durations vary widely.
When I gave Canto Ostinato’s New York premiere in the composer’s preferred four-piano configuration, we brought it in at around two and a half hours. Among Jeroen Van Veen’s legion of Canto Ostinato recordings, the longest lasts four hours plus, while Ivo Janssen’s marvelous solo piano traversal strikes a happy medium at 67 minutes.
The best single or multi-keyboard performances occur when musicians are able to lock into the rhythmic patterns with the kind of lilting precision that allows one to establish a “groove”, where the harmonic and textural shifts flow and build with ease. However, Anthony Fiumara’s orchestration only “grooves” intermittently. The inner rhythms of the five-beat phrases often bog down when the scoring is at its fullest and most diffuse. On the other hand, the quietest and most transparently scored episodes (such as in the big tune’s first appearance) convey welcome lightness and grace. Yet for all of the colorful variety that an orchestra offers, I miss the subtle interplay and hypnotic momentum one usually hears from acoustic piano readings.
In contrast to Canto Ostinato’s clear-cut key center and minimalist character, Una Musique Blanche is more ambiguous from the standpoint of tonality. The piece basically encompasses a single unison line in 16th notes brilliantly tossed back and forth among four distinct orchestral ensembles respectively made up of keyboards, percussion instruments, winds, and brass. These ensembles consistently interact with two string groups. The continuous shifts between solo and tutti passages from section to section keep you guessing and keep you interested.
By contrast Centrifuga represents “maximal minimalism”, where only four tones combine and overlap in elaborately-calculated rhythmic configurations shared among four instrumental groups. Amazingly, the work never sounds static over the course of its 49-minute duration, due to the extraordinary variety of timbre and pacing that Ten Holt achieves. Aluid may grant Canto Ostinato top billing, yet the other pieces are what counts. Buy this release for Une Musique Blanche and Centrifuga, but to fall under Canto Ostinato’s unique spell, seek out a solo or multi-piano edition.
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