Пол Маккартни издал еще один альбом классической музыки — “Ecce Cor Meum”

Классика с Сергеем Ходневым

Paul Mccartney. "Ecce Cor Meum". London Voices, Academy of St Martin in the Fields, G. Greenaway (EMI)

Сэру Полу Маккартни сочинительство в академическом духе не впервой – еще пятнадцать лет назад он сделал первый крупный опыт в этом роде, представив миру свою "Ливерпульскую ораторию". Теперь – снова оратория, и снова с автобиографическими обертонами: работать над ней Маккартни начал восемь лет назад, посвятив ее памяти умершей жены Линды. Отсюда и образность: само название оратории значит "Вот мое сердце", а в текстах, частью написанных, частью скомпилированных самим Маккартни, чувствительно и утешительно говорится о вечности, любви и величии человеческого духа. Музыкальный язык Маккартни не то чтобы усложнился, "Ecce Cor Meum" – произведение скорее общедоступное, но общедоступность его носит доброкачественный характер. Использование традиционных норм "большого стиля" (помимо оркестра Академии св. Мартина и хора London Voices в оратории поют еще и детские хоры колледжей Оксфорда и Кембриджа) не мешает ему оставаться в рамках хорошего вкуса. Поставить ораторию в ряд, скажем, с академическими по форме работами голливудских композиторов и представить ее рядовым опусом для саундтрека к дорогому голливудскому блокбастеру было бы жаль: она все-таки заслуживает большего. При композиционной пестроте и рыхлости немало ее страниц все-таки получились не просто броскими, эффектными, трогательными и т. п., но и подлинно красивыми своей несколько стилизованной позднеромантической красотой.

http://www.kommersant.ru/application.html?DocID=718134

November 3, 2006 -- AOL News

Paul at RAH rehearsals today

Paul McCartney attended rehearsals earlier today at London's Royal Albert Hall to prepare for the world premiere of his classical choir piece "Ecce Cor Meum" which was performed this evening. (more details about the show will be posted tonight)

November 3, 2006 -- Macca triumphs at the RAH

Paul McCartney attended the world premiere of "Ecce Cor Meum" tonight at the Royal Albert Hall in London. He didn't walk the red carpet. Instead he was driven into the RAH via the ramp earlier in the evening.

Stella arrived at the guest entrance and was greeted by fans and press who lined the walkway.

Prior to the performance of "Ecce" there was a preshow of McCartney music played by the Academy of St Martins In The Fields Orchestra. Paul was ushered in just after the lights dimmed and was seated in the middle section of the floor about 9 rows back and sat between Stella and Mary. On hand were John Hammel and body guard Mark Hamilton.

The preshow was a tribute to Linda. The songs: "My Love" Kate Royal and the Belcea Quartet, "Warm And Beautiful" Kate Royal and the Belcea Quartet, "Calico Skies" Kate Royal and Andrew Staples with the Belcea Quartet, "Golden Earth Girl" Andrew Staples and the Belcea Quartet, "Somedays" Andrew Staples and the Belcea Quartet, "Junk" Kate Royal and Andrew Staples the Belcea Quartet, "Nova" (A Garland For Linda) Chamber Orchestra, "The World You're Coming Into" (Liverpool Oratorio) Kate Royal and Chamber Orchestra, "Ghost Suite" (Liverpool Oratorio "Ghosts from the Past") Kate Royal and Andrew Staples with Chamber Orchestra (strings),"Celebration" (Standing Stone) Kate Royal and Andrew Staples the Chamber Orchestra and the Belcea Quartet.

After the preshow there was a break (15-20 minute interval) and Paul got up to go to the backstage area as fans cheered and called out his name. Macca did a dip (partial bow), held out his arms and said "Hey, hey!" to acknowledge the fans.

When the classical concert started he was led in from the back of the RAH to his seat. During the concert Paul was seen head bopping, drinking water and blowing his nose (he had a cold). Macca put his head on the girls' (Stella and Mary) shoulders and visa versa. He gave Stella a kiss.

At the end of the peformance he walked up the center aisle and took the stage to thank the orchestra and performers: Kate Royal (soprano), Andrew Staples (tenor) Boys Of Magdalen College Choir of Oxford, Boys of King's College Choir of Cambridge, conductor Gavin Greenaway and the Academy of St Martins In The Fields Orchestra.

Paul said, "Well, how about that? I feel so privileged to work with these musicians who did such a fantastic job tonight. I know they've all worked incredibly hard at rehearsals. I want to thank this beautiful orchestra. The London voices, great choir. The young gentleman from Magdalen College and King's College Cambridge... and Ben (Parry) who's the choir master who kept them all in control. Katie, Kate Royal who was fantastic... Gavin Greenaway who kept everything in control. Andrew Staples the soloist in the first half, he had to go (crowd laughs) and Colm (Charey) the organist there (waves) ...and so anyway thank you. I'd like to thank so many wonderful people from my family and my friends from forever. It's been such a long labor of love. So many wonderful people in the audience. Well that's it for me. But most of all I want thank you... Goodnight!"

Paul was handed flowers and took several bows. He wore a darl grey suit, white shirt, burgundy tie and was said to look alarmingly thin. People ran up to take photos and nobody was stopped. White confetti and white paper hearts fell from the ceiling.

In the audience were: Jeff Lynne, Jeff Beck, Dave Gilmore, Wix, Sir George Martin with his wife and son Giles sitting in the same row with Paul.

There was an after party for just the family at the RAH.

Загрузка репортажей
http://www.mytempdir.com/1037956
http://www.mytempdir.com/1038062
http://www.mytempdir.com/1038477

Прослушать интервью полностью
http://www.bbc.co.uk/radio4/today/listenagain/ram/today3_macca_20061104.ram

Paul McCartney acknowledges a standing ovation at the world premiere performance of his classic work Ecce Cor Meum at the Royal Albert Hall in London November 3, 2006. McCartney says he wants to maintain a 'certain dignity' over his divorce from Heather Mills, in his first public comments on their acrimonious split.

British artist Sir Paul McCartney poses with a conductor's baton in this undated handout picture made available by EMI records in London in September 2006. McCartney escaped his bitter divorce battle for a few hours at the world premiere of his new work, which was inspired by his late first wife Linda.

Singer Paul McCartney poses for photographers with a fan as he signs autographs for fans in celebration of the release of a new concert DVD and classical CD in New York City November 13, 2006.

слушаю сейчас Ecce Cor Meum
местами на уровне Стравинского ходы.
может быть немного в сторону простоты ушел(што не есть плохо).
скорее всего даже рано я впечатление начал писать.
хотя целиком признаю - в записи тяжеловато слушать (наверно из-за работы).
как впрочем и Стравинского (кроме псалмов пока у него больше ничего не удалось послушать,)
но живьем я думаю эта музыка никого не оставит равнадушным.

естествено к такой музыке нужнен настрой.
я бы не смог ничем еще паралельно занимаца, иначе теряю ощущение взаимодействия партий.
вот и сейчас работа страдает))

A CARNEGIE PAUL RECITAL
http://www.nypost.com/seven/11152006/news/columnists/a_carnegie_paul_recital_columnists...

November 15, 2006
Paul at Carnegie a review

Paul McCartney was seen several times throughout the day during rehearsals. A back door had been barricaded to each side where fans gathered waiting for a glimpse of Paul. Twice Paul came back and signed for everyone on each side and a third time he signed for one side as the crowd enveloped him and he had to push through. Each entry was sans security. Not a good sign these days!

Prior to the performance of "Ecce" there was a preshow of McCartney music played by the Chamber Orchestra and the Loma Mar Quartet. Paul was ushered in about fifteen minutes before the start of the show in the First Tier Center Section. Other celebrities in the sections adjoining him were Mary McCartney, Elvis Costello, Jerry Seinfeld, Woody Harrelson, Paul Newman, Alec Baldwin, Lorne Michaels, John Eastman, and Diana Krall. Paul arrived greeting friends and family to a thunderous applause which he immediately reacted to waving to the crowd and giving the thumbs up. The applause continued all the way up to the beginning of the pre-show.

The preshow was a tribute to Linda. The songs: "My Love" Kate Royal and the Loma Mar Quartet, "Warm And Beautiful" Kate Royal and the Loma Mar Quartet, "Calico Skies" Kate Royal and Andrew Staples with the Loma Mar Quartet, "Golden Earth Girl" Andrew Staples and the Loma Mar Quartet, "Somedays" Andrew Staples and the Loma Mar Quartet, "Junk" Kate Royal and Andrew Staples the Loma Mar Quartet,Nova" (A Garland For Linda) Chamber Orchestra, "The World You're Coming Into" (Liverpool Oratorio) Kate Royal and Chamber Orchestra, "Ghost Suite" (Liverpool Oratorio "Ghosts from the Past") Kate Royal and Andrew Staples with Chamber Orchestra (strings),"Celebration" (Standing Stone) Kate Royal and Andrew Staples the Chamber Orchestra and the Loma Mar Quartet.

Kate Royal & Andrew Staples again did a superb job at delivering the songs. At the end of the pre-show, again a standing ovation was directed at Paul who waved, talked to friends and then left to give a radio interview as the performance was being broadcast. There was a 25-30 minute intermission. Paul returned to his seat to more cries of "Paul" and scattered applause but the lights started to dim denoting the stat of "Ecce"

Ecce Cor Meum was performed by Kate Royal, The Orchestra of St Luke's conducted by Gavin Greenway with the Concert Chorale of New York and the American Boychoir with Colm Carey again manning the organ. They went through Spiritus, Gratia, Interlude (Lament), Musica and finally Ecce Cor Meum.

As the performers and conductor were taking their bows, Paul arrived at the side of the stage. Paul was wearing a black suit with a white shirt and a red tie. He made a short speech thanking all involved and finishing thanking the audience. He took his bows and was handed quite a few bouquets of flowers and gifts. (WEBMASTER'S NOTE: Paul was handed so many flowers he said, "I feel like a florist." - thanks to Brenda Spencer)

I had a shirt made up for Paul with his face super imposed on a Beethoven bust and a coke can on the back that said "McCartney Classical." I called to Paul softly since he was feet in front of me and he looked down at me. I pumped once and threw it to him and he caught the shirt despite having a bunch of flowers in one arm and a microphone in the other. The white paper roses than began to fall from the ceiling as Paul bid everyone farewell. He then walked off stage and was followed by everyone else shortly after him.

Концертное исполнение в интернете
http://www.npr.org/templates/story/story.php?storyId=6468926

Primal Scream

Николай спасибо прослушал
уже начинает оседать в памяти.
немного длиноватое произведение, но такова уж специфика этой музыки.

живое исполнение тронуло больше, чем с диска
хотя понятно што и там и там все партитурно

British musician and former member of The Beatles Sir Paul McCartney poses for photographers with copies of his latest DVD, left, and classical album at the start of a signing session in a London music shop, Wednesday Nov. 22, 2006. McCartney on Wednesday signed copies of his classical album entitled 'Ecce Cor Meum' and a new DVD entitled 'Paul McCartney: The Space Within US'.

Завтра - день Пола Маккартни на Classic FM

http://www.classicfm.com/Article.asp?id=312466&spid=9448

Желающие могут скачать вчерашнее шоу Пола на Classic FM
http://www.classicfm.com/Article.asp?id=312507&spid=9448

2Primal Scream:

>Желающие могут скачать вчерашнее шоу Пола на
>Classic FM
>http://www.classicfm.com/Article.asp?id=312507&spid=9448
>

Это только часть всего шоу. Одно из двух интервью (а было еще много чего). Вот, кстати, транскрипт этой части. Посвященной непосредственно работе “Ecce Cor Meum”


Sir Paul McCartney, in conversation with Anne-Marie Minhall on Classic FM.


AM: Sir Paul, first of all thank you very much for sparing us some time this afternoon to talk about Ecce Cor Meum. Is it right that you were asked to compose a piece by Magdalene College in Oxford and that was how it all came about? And you’d actually heard the college choir sing there?

PM: Yes, I was first of all asked by the then president Anthony Smith and he invited me to come and listen to the choir and look around. He wanted to inaugurate a new building and he wanted this piece for its opening but it took longer than I thought. Linda and I went up there. We stayed at the college, we went to the chapel and we heard the choir sing. It’s a beautiful place and the choir were great, they were doing a lot of stuff I’d not heard before - I don’t know what it was - but their choirmaster has interesting tastes. Some of it would be what you’d expect but some of it would be harmonically really interesting and I was thinking ‘wow’.


AM: What did you start with first – was it the music or the subject matter of the commission?

PM: It was the music. I got so excited that I immediately started thinking of melodies and tunes and harmonies. I was doing it on a computer programme on a keyboard that had a choir so it sounded quite realistic. I thought that I could just play it into this keyboard and a score would appear. Of course that’s not true, and anyone who knows anything about composing knows that. You have to set up a tempo and you have to stick strictly to that. If you want to alter from 4/4 let’s say to 3/4 time, you’ve got to tell the computer that. And I didn’t know all these things. Looking back on it now it’s laughable, but it was quite a while ago, about 1997, when I started.


AM: What about the experience of having written the Liverpool Oratorio and Standing Stone? Did that help? Did you draw on your experiences of those two works for this?

PM: It’s a funny thing for me. You make a great album, a successful album and you come to make your next one and you think; ‘I know how to do it now because I just made a great one’, but you don’t. Each time you come to it you relearn the whole thing. It’s as if you forget it all and your memory goes blank. In a way it’s quite a good thing and what I used to do play the last album to remind me where we were up to and what I now wanted to try. So with the Oratorio and with Standing Stone, they obviously helped because they were experiences that I needed but it was still a blank canvas.

I’d been involved with another choir for a memorial for Linda, who’d died by this time and was obviously a huge setback to me. This is why I think the piece took so long to write. I started it and I had the whole thing going then suddenly Linda died and it just stopped me. And I had to take a year out just to grieve and then I picked it up after that. There’s an interlude in the middle of Ecce Cor Meum, which is a very sad piece of music and I remember actually sitting at the keyboard, just weeping when we were doing this piece. It does it to me every time


AM:The words came about through a concert you were working with John Taverner - is that right? And inspiration struck thanks to a statue of Christ.

PM: I was at a reception connected with the memorial for Linda and there were choral writers there. And one of them asked me what I had used for the text and I didn’t quite understand the question. It was only then I realised that most people do it the other way round from how I’d done it. They find a great French poem or a piece of Shakespeare and set it, which would have been really much easier. So then I started going about the process of the words and that was then the next stage.

I wasn’t looking for something that was specifically Christian but John Taverner had asked me to narrate a piece of his that was by a Greek poet called Kadafi. I agreed to do it and went to New York to a church there - a very ornate, beautiful church. While I was waiting for my go, I was looking around the church and I saw a crucifixion statue up on the wall and I saw underneath it 'Ecce Cor Meum'. So dredged my mind for some Latin from school trying to work out what it meant. 'Ecce' meant ‘behold’, it was one of the key words – ‘behold Caesar, ecce Caesar’. 'Cor' and 'Meum' meant ‘heart’ and ‘mind’. So I realised it was 'behold my heart' and that started the idea for the lyrics.

AM:I wanted to ask you a bit about the performance because you recorded it at Abbey Road earlier in the year. Did you like being on hand to give feedback or do you just sit there quietly and speak when you’re spoken to if anyone wants your opinion?

PM: A bit of both. I like being there – it’s my baby. If there’s a wrong note, I’ll hear it. I know how it sounds so it’s useful for them to have me there. Being a musician as well, I relate to the musicians and their task, so I don’t give them a hard time. I try to be really sympathetic with them and I think that comes over. During the space of the week, we had quite a good time together. It’s something that I don’t do every day, even though I’m in a studio and work with orchestras, a whole big piece like that was quite an effort but when we finished it, it was very satisfying.


AM: Do you think you’ve started something of a trend? Other musicians have turned their hand to classical music like Elvis Costello; Sting is about to release an album of lute music and Chris Martin from Coldplay has said that when he’s 40 he wants to go college to study classical music.

PM: I can sympathise with Chris Martin because when I’d written Eleanor Rigby in the 1960s I was excited by the idea that this wasn’t a band it was actually just string players. For 'Yesterday', I had a string quartet and George Martin helped me. I’d go round to his house and I’d show him the chords and he would re-voice them for a quartet. In rock'n'roll I would play within one octave, but classical composers in the past would voice it. George would give me little tips on those sorts of things and we’d have fun moments. On 'Yesterday' George was taking chords down from me and looking at the voicing of them and there was one little bit where I wanted a seventh and George said ‘a classical composer wouldn’t do that’ and I said ‘all the more reason to do it, stick it in, come on.’ We had nice little experimental moments like that. About the time of Eleanor Rigby I did have this image of myself in a kind of tweed jacket with patches on the elbows and a pencil and some manuscript paper and I thought that’s what I’ll do. That’s what I’ll do when The Beatles runs out.’


AM: Can I ask you just finally if there are any classical composers or pieces that you couldn’t live without, you love to listen to or revisit from time to time.

PM: I do have lots of pieces I like but if I just had to choose something to go on a desert island, it would be Chopin’s ‘Nocturnes’. It’s something I come back to all the time, so that would be my choice.

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