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 Sebastian Wesman  Astronomic Panoram

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          Astronomic Panoram 

          Lágrimas 

          Elsa  

          Underground Rivers 

          Glory 

          Uttu hääbuv 

          Pact with the Moon 

          Molinos  

 

 

 9 € 

 

CD CARTÓN TRÍPTICO

 

OTROS MÉTODOS DE PAGO

ENVÍOS CERTIFICADOS

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luscinia.discos@gmail.com

 

A LA VENTA TAMBIÉN

en

GRANADA (España):

SUBTERRÁNEA COMICS DISCOS

c/ Horno de Abad, 12 

(frente a Sala Planta Baja)

subterraneacomics.blogspot.com

&

TALLIN (Estonia):

RAHVA RAAMAT

LASERING

 

 

 

Primer disco del compositor multinstrumentista de origen argentino y residente en Estonia Sebastian Wesman bajo esta firma. Con anterioridad estaba involucrado en su -también personal- proyecto Isabelasnacho, con el que ha publicado dos álbumes. Astronomic Panoram ha sido grabado con una notable variedad de instrumentos musicales clásicos y diversidad de músicos participantes. Tiene importantes reflejos de la música del compositor estoniano Arvo Pärt, en las melodías, las texturas y las emociones. Pero también es una música hondamente estoniana por la influencia de la tradición y, en otra índole, porque su sonido peculiar nos arropa en paisajes característicos del norte, nevados, que absorben, amortiguan y empapan de silencio. El propio Sebastian Wesman se encarga de tocar el violín, la viola, el piano, las flautas, los timbales y de aportar, de forma particular y puntual, su voz; Martin-Eero Köressaar toca la tuba y la trompeta; Mai Nuudi ofrece su voz de soprano; la poeta Diana Norma Szokolyai interpreta, entrelazada con el violín de Wesman, su poesía "Underground Rivers"; y Anneli Köressaar hace un recitado, también poético, en esa lengua que nos puede resultar tan extraña, por poco corriente, pero tan arraigada que es el estoniano. Retratan entre todos un mundo fantástico, casi cinematográfico (otra de las grandes dedicaciones artísticas de Wesman a día de hoy), de sueños, recuerdos y emociones insondables, donde el movimiento es sentido, tocado y respirado. La pieza "Lágrimas" ha formado parte de la BSO de la película Póra de Raul Perrone.

 

Poemas de

Diana Norma y

Sebastian Wesman

 

Masterización de

Tarmo Pajusaar

 

Primera edición:

Arte gráfico de

Sebastian Wesman

Febrero de 2011

 agotada 

 

Segunda edición:

Arte gráfico de

Sarah Vacher

Enero de 2012

 agotada 

 

Tercera edición:

Arte gráfico de

Sarah Vacher

Junio de 2015

 

sebastianwesman.com

 

Entrevistas:

 

Histéricas Grabaciones 18/8/2015:

"Entrevista a Sebastian Wesman"

Fluster 6/2/2014:

"Showcase: Sebastian Wesman"

Revés 3/9/2013:

"Los parámetros de Wesman"

Revés 31/1/2013:

"Cantos azules"

 

     Críticas

 

" / Modern Composition /

When three editions of an album are released in a five-year span, it’s safe to say that the initial expectations have been surpassed. The new edition of Astronomic Panoram is a compliment to the composer and should draw a new array of fans to this deserving work.

Sebastian Wesman plays multiple instruments himself: violin, viola, piano, flute and drums. He is joined here by Martin-Eero Kõressaar (tuba and trumpet), as well as other guest stars on voice. But Wesman’s compositional prowess is the key to his success. Beginning with the trumpet fanfare of the title track, Wesman announces what can rightfully be called a short symphony ~ due to the poetic contributions and solo soprano, nearly an opera. This stately piece dips into elegance again and again, returning to the brass chorus for punctuation.

If it’s hard to place the country of origin, it may be due to the fact that Wesman is from Argentina, yet lives in Estonia. There are not many well-known composers from Estonia, so it’s no surprise that Arvo Pärt is mentioned in the press release. Like the latter composer, Wesman pays close attention to the interplay between sound and space, but is more active in phrasing and tempo. Even the short, soft breakdown of “Elsa” is swiftly filled in by instrumentation, while the drums of “Glory” offer drama to counterbalance the cautious strings. All of these threads converge on “Pact With the Moon”, the album’s most active track and its penultimate offering.

The two spoken word pieces and operatic closer offer a different manner of beauty, but the English-language “Underground Rivers” falls prey to a feature beyond the composer’s control: once one hears the words, the music gains literary definition. The Estonian track “Uttu hääbuv” is different; as few of our readers are likely to speak that language, the mystery is preserved.

Is Astronomic Panoram Wesman’s magnum opus? That wouldn’t be too bad, although we always hope a composer’s best work lies ahead. Since the initial release, he’s also released an album of collected film work (Otros Parámetros), the seeds of which were planted here with “Lágrimas”. This is the better collection, due to its internal coherence; our hope is that a new short symphony will be forthcoming. We’d love to hear how the composer’s sound has developed in the last five years.
" (Richard Allen, a closer listen, 5/9/2015)

— — 

" Je zal me in dit Schaduwkabinet niet zo snel betrappen op recensies van oude werken, zij het als het gaat om bepaalde parels waar je niet omheen kunt of heruitgaven. De cd Astronomic Panoram (astronomisch panorama) van de in Estland woonachtige Argentijnse (ja verzin het maar) componist en multi-instrumentalist heeft beide. Het werk van Wesman (ook opererend onder de naam Isabelasnacho) is oorspronkelijk begin 2012 uitgegeven op het kleine Spaanse kwaliteitslabel Luscinia. Wesman draagt zorg voor de composities en de instrumentale bijdragen op viool, altviool, piano, zang, fluiten, pauken, elektronica en veldopnames. Hij krijgt hulp van de sopraan Mai Nuudi, tubaspeler/trompettist Martin-Eero Kõressaar en spoken word van Diana Norma en Anneli Kõressaar. De cd opent met door blazers gestuurd neoklassiek, die een spannende, tijdloze serie als “De Wrekers” lijkt in te luiden. Maar dan begint Wesman te spelen met de compositie, veelal met elektronica dan wel bijzondere instrumentale inbreng, die nog altijd tijdloos blijft klinken, maar een moderne wending krijgt. Telkens legt hij de accenten net anders, van intrigerend filmisch en desolaat elektro-akoestisch materiaal tot meer poëtische folkachtige, Barokke en klassiek getinte stukken, al dan niet aangevuld met de samples. En soms loopt alles door elkaar. Er zit een prettige ambivalentie in het album, waarbij de muziek eigenlijk zonder uitzondering adembenemend mooi is. Zo laveert hij van Nils Økland, Zbigniew Preisner, Philip Glass en Hilmar Örn Hilmarsson naar Owain Phyfe, L’Arpeggiata en Benjamin Britten. Dit geweldige meesterwerk is nu voor de derde keer uitgebracht. En terecht! " (Jan Willem Broek, De Subjectivisten, 21/7/2015)

— — 

" Back in Vital Weekly 818 I was first introduced to the music of Sebastian Wesman, who then worked as Isableasnacho. I am not sure why this one was released under his own name and not that particular moniker. Together with the help of some fellow Estonian musicians (and the US poet Diana Norma), he recorded this new work, which is much more neo-classical than his previous release - hence perhaps the change of the name? - but I must admit I have no idea of how this was made. Did he record this with a small ensemble, or perhaps culled it from working within say Garageband? That's hard to tell. There is something about the quality of the sounds which suspects me to believe this is indeed a small ensemble of some kind, mainly in the recording. As I mentioned before I am hardly trained to write about modern classical music - be it the hard way of strange, abstract music, or, and that's the case here, of a more melodic kind. I do know, however, that I quite enjoyed this. In all its modern approach, the music still has that 'old' quality to it. Although I might be entirely wrong, there is a certain quality to this which reminded me of the few works I heard of Arvo Part, but then captured within the limits of a pop song. Eight pieces in under thirty minutes. Dramatic, but not in a pathetic way, melodic, but not in a cliche like manner, and simply quite nice altogether. Less 'radio play' like, but simply great music, and still wondering why what the hell is this? " (Frans de Waard, Vital Weekly, # 836, 19/6/2012)

 

 

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Última actualización: 14 de octubre de 2016