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

уже доступен для заказа в озоне и легионе. ИНТЕРВЬЮ НЕ ОТКРЫВАЕТСЯ к несчастью...

Paul McCartney
Ecce Cor Meum (Behold My Heart)
World Premiere Performance at The Royal Albert Hall
Friday November 3rd 2006

Today Paul McCartney announces the world premiere performance of his new classical album Ecce Cor Meum (Behold My Heart). Ecce Cor Meum is a work for chorus and orchestra in four movements.

Ecce Cor Meum will be performed by Kate Royal (soprano); Academy of St Martins In The Fields Orchestra; London Voices; Boys Of Magdalen College Choir, Oxford and Boys of King’s College Choir, Cambridge. They will be conducted by Gavin Greenaway. This is the same cast that appears on the studio recording, which is released by EMI Classics on September 25th.

Ecce Cor Meum (Behold My Heart) is Paul’s fourth classical album since his first was released in 1991, The Liverpool Oratorio. The album has been more than eight years in the making and its origins follow in the historic tradition of composers that have been commissioned to write music for the world-renowned Magdalen College Oxford. Paul was specially invited by Anthony Smith (President of Magdalen College 1998 – 2005) to compose something to set the seal on a new concert hall for the college. His hope was for ‘a choral piece which could be sung by young people the world over, in the same way that Handel’s Messiah is’.

In November 2001, the first version of Ecce Cor Meum was given its preview performance by the Magdalen College Choir, which was conducted by Bill Ives at the Sheldonian Theatre, Oxford. This was a great learning experience for Paul. “Eventually I made it all come together through correcting a lot of misapprehensions – a lot was learned before the Sheldonian performance, but a lot of it was learned afterwards. An experienced choral composer knows that children can’t be given huge sustained passages; they don’t have the energy and the stamina. At the Sheldonian there was some quite hard stuff that I didn’t realise because I’d done it on the synthesiser (which has endless stamina!), but during that first performance the solo treble couldn’t come on for the second half – I think I’d used him up in the first half! These are things that people either learn because they are taught them immediately at the first lesson, or you learn through the years, so it was good to go through the piece a lot of times, and we took out huge choral sections and gave them to the orchestra. If it had been a Beatles song I would have known how to do it. But this was a completely different ball game.”

The Royal Albert Hall performance will be a very special evening. Tickets go on sale from today.

Friday 3rd November
Royal Albert Hall
Doors 6.30pm Performance 7.30pm
Tickets available from 020 7589 8212, 0871 230 2603
Or online at www.royalalberthall.com ticketmaster.co.uk
Ticket prices for this performance will be £60.00, £55.00, £45.00, £30.00 and £20.00.

http://www.geocities.com/SunsetStrip/Towers/1019/rah.htm

ПОДСКАЖИТЕ, выйдет ли позже версия с dvd ( в смысле с тем интервью что на сайте выложено)??? или лучше заказывать обычную версию?

September 22, 2006 -- Wall Street Journal

Paul talks about "Ecce Cor Meum"

Since the premiere of his "Liverpool Oratorio" in 1991, Sir Paul McCartney has been repeatedly impelled to compose concert music. In 1997 his second large-scale work, the choral-symphonic poem "Standing Stone," had its premiere; it not only hit the top spot on both the British and American classical charts but earned him National Public Radio's New Horizon Award, in recognition of his work broadening the appeal of classical music.

Speaking by telephone from his studio in England, Sir Paul says that his primary aim with his classical works is that they be "accessible, so that people in Cleveland can perform them, or people in Helsinki or Tokyo. I'll meet someone in a grocery store in Orange County wearing a Liverpool Oratorio T-shirt. So I'll say, 'Excuse me, how come you've got that?' And they'll say, 'Got it when I sang in it.' Then we have a chat about it. And that is very much what it's all about for me."

Next Tuesday, EMI Classics is releasing the CD of the four-movement oratorio "Ecce cor meum," with the London Voices, the combined boys choirs of Magdalen College, Oxford, and Kings College, Cambridge, and the Academy of St. Martin in the Fields under conductor Gavin Greenaway. This is Sir Paul's third large-scale choral work and took him nearly eight years to complete. That long gestation has yielded a richly melodic score (no surprise from one of the most felicitous lyrical inventors of our time). The influences are apparent -- Sir John Tavener's serenity, the timeless quality of Gregorian chant, the comforting warmth of Gabriel Fauré (1845-1924), a clarion touch of Giovanni Gabrielli (1558-1613). But the score's stylistic homogeneity shows an advance over the greater eclecticism of his previous concert works, and the engaging quality -- the voice -- is pure McCartney.

Sir Paul mentions that the whole project started with an invitation from Magdalen College, Oxford, to compose a new work to commemorate the 550th anniversary of the college's founding, which was to be celebrated in 1998.While deliberating about the text, he was invited by Sir John Tavener to be the narrator in a Tavener work that was being performed at New York's St. Ignatius Loyola Church. "I was a little reluctant," says Sir Paul, "because I thought that my voice was, perhaps, a bit regional for a narrator. But John assured me that the Greek poet of his text, a bloke called Cavafy [Constantine Cavafy, 1863-1933], had been brought up in Alexandria, so he himself would have had the equivalent of a regional accent." In the church, Sir Paul's eye was caught by a representation of the Crucifixion, beneath which was the phrase "Ecce cor meum" (the first word of which he pronounces with a hard c, as he was taught in school). "I worked out the translation, 'Behold my heart,' which to me meant 'let me show you what's in my heart, the things that are important to me.'"

From that idea he evolved "a kind of prose poem in English." Then, he asked the Latin tutor at Magdalen to translate his text into Latin. "I wanted to see if there was anything exciting there. And there were a few words and phrases that I liked and eventually used. One of the words I didn't use was the Latin for song, 'carminibus,' which sounded to me like a sort of hybrid automobile."

That choirs feature in all three of his full-length works prompts me to ask if Sir Paul himself sang in school choirs. He responds that he did sing for a short while in the choir of Liverpool's St. Barnabus church, in Penny Lane. "I used to turn up at this old church, go in the back door, put on my surplice, fall in with the choir, and try to look suitably holy. But though I quite enjoyed the experience of dressing up, I can't remember any of the music we sang."

Subsequently, he says, he did try out for the choir at Liverpool Cathedral. The prize included free school books. "That appealed to my parents, who weren't very well off. And the chance to sing in a grand cathedral appealed to the theatrical in me." Although he made it to the last few rounds, he didn't make the final cut. Nevertheless, he says with a chuckle, "I got my revenge with the Liverpool Oratorio, which was performed in the cathedral, so I returned there in great splendor."

Because he had no formal musical training, Sir Paul says that when composing, "I'll have some happy accidents, if I'm lucky, and I'll find my way in via the knowledge I gained through the Beatles and Wings and through my pop music career -- I hate that term -- you know, my other career. I'd explore things I'd learned there, like harmony and melodies."

Those harmonies and melodies actually preceded the text of "Ecce Cor Meum," he says. "Then I had to fit all my words to the music I had already written. Sort of customize it all."

I ask if he feels his composing technique has progressed since the previous work. "With the 'Liverpool Oratorio' and 'Standing Stone,' I've been learning what goes into the making of big pieces," he says. He is also quick to credit several musical associates, among them EMI recording producer John Fraser. Nevertheless, because he composed "Ecce cor meum" entirely at a synthesizer, which not only allowed him to produce melody and harmony but choral and orchestral textures at the same keyboard, he did find "things I was doing that I needed to correct. For instance, when I played the work for some choirmasters, they informed me that I was murdering the choir by giving them too much to do. At the same time, I hadn't been writing enough for the orchestra to do. So I started adjusting, taking a bit of music that overtaxed the choir and giving it to the orchestra. Eventually we got it right: The trebles of the boys choir don't get too exhausted, the main chorus of voices don't get too exhausted, the orchestra has plenty of nice passages to shine while the voices are resting."

Composition took longer than he thought it would -- in fact, the first version of the work wasn't ready until 2001. Personal matters, as well as musical ones, both caused the delay and inspired the beautiful Fauré-tinged interlude for solo oboe and wordless choral accompaniment between the second and third movements. "I started composing the score while Linda was alive," he explains, "and I was getting on quite well. Then she died [of cancer in April 1998]. And I couldn't work. But that interlude was one of the things that got me working again, because it was really a lament for her. And I vividly recall sitting...at the computer, writing that piece and just weeping."

During the work's gestation, he would play this episode for people without telling them anything about the music. Each time, they were emotionally moved. "And," he observes with almost childlike wonder, "every time this happens, it strikes me as fantastic that just some chord structures and a melody can touch your heartstrings this way."

Listen to the podcast: Paul McCartney talks about the album, with musical extracts, at http://entertainment.timesonline.co.uk/section/0,,27052,00.html

September 24, 2006 -- The Sunday Times

McCartney: I dried up with grief for Linda

Sir Paul McCartney has revealed how he was so upset by the death of his first wife that he could not write or play music for two years, writes Maurice Chittenden.

He was composing a classical album for a choir and orchestra when Linda died of breast cancer in April 1998. The work, Ecce Cor Meum, Latin for Behold My Heart, is finally released tomorrow.

Speaking on a podcast made available this week exclusively to readers of The Sunday Times, McCartney, 64, says he eventually learnt how to "write my sadness out".

"For a couple of years I couldn't do anything, really. I was just grieving," he says. "And when I eventually came back to it I started doing some particularly sad bits.

"There is a piece called Interlude. It still affects me. It is quite a sad thing. The chords are very sad and it is strange, really, how something with no words can affect you so deeply, can affect your emotions."

The former Beatle, who is now putting the finishing touches to a new pop album, adds: "I gradually got back into it through that. I just sort of wrote my sadness out. I was able after a year or two to pick it up again and complete it.

"When I came round to thinking what do I want the words to say, I just wrote down a whole load of things that interested me, just about truth and love and honesty and kindness, just stuff that I thought was important in life."

He does not mention the name of his second wife, Heather Mills McCartney, with whom he is locked in a divorce battle, either in the podcast or in an interview in the new music section of today's Culture magazine.

When McCartney was invited to write the new work for the choir at Magdalen College, Oxford, he asked a scholar at the college to translate it into Latin.

"There were some words I loved but just couldn't work in," says the composer.

"Carminabundas [Latin for versifying] being one of them. Car and minibus in the same word. Fantastic. A new surreal vehicle."

September 24, 2006 -- Classic FM

Sir Paul McCartney, in conversation with Anne-Marie Minhall on Classic FM, Sunday, September 24, 2006

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?

PAUL: 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?

PAUL: 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?

PAUL: 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.

PAUL: 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?

PAUL: 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.

PAUL: 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.

PAUL: 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.

Всем привет!
Несколько строк об этом альбоме появилось в новостях:

http://www.vz.ru/news/2006/9/25/50327.html

Фото http://editorial.gettyimages.com/source/search/FrameSet.aspx...5%7c0%7c0%7c0%7c0&p=7&tag=1
Видео http://uk.news.yahoo.com/25092006/356/sir-paul-classical.html

"Пол Маккартни издаст еще один альбом классической музыки - Ecce Cor Meum..."

Забавно. Он его еще не издал, а он уже классический. Извините, господа, но так не бывает.

2Uliss13:

>"Пол Маккартни издаст еще один альбом классической
>музыки - Ecce Cor Meum..."
>Забавно. Он его еще не издал, а он уже классический.
>Извините, господа, но так не бывает.

Так бывает, когда в быту "классической" называют музыку, написанную для "классических", оркестровых инструментов. "Маккартни записал альбом академической музыки" - звучит грамотно, но как-то уж подозрительно. :)

Ни кто еще не слушал?
ох!..интерессно!!! :)

Да вряд ли. Не могу вспомнить, чтобы из всех его симфоний мне понравилось хоть что-то. Хоть какой-нибудь короткий отрывок.

Сегодня (точнее, уже вчера - во вторник) по НТВ в новостях показали небольшой на данную тему.

Видео: Маккартни: "У меня все хорошо" и пресс-конференция.

http://cosmos.bcst.yahoo.com/scp_v3/viewer/index.php?...8&rn=49750&cl=892199&ch=68276&src=

Official Web Site: Paul McCartney | ECCE COR MEUM
http://www.eccecormeum.com/#

А кому-нибудь удалось скачать EPK?