Outstanding music on all three disks
Incredulous stare | Cincinnati, OH | 04/09/2006
(5 out of 5 stars)
"Ever since I first heard the astounding Flamma Flamma Requiem in 1996, I have occasionally checked the internet to see whether Nicholas Lens had produced anything new. At one point I saw that there was something called "Terra Terra," but I could not find out anything about it, and it wasn't readily available in the US. A few months ago I discovered that Lens had an elaborate website, and sometime later the Accacha Chronicles showed up on Amazon. The question for me was: What's wrong with this? Why is it still available only as an import? What's with the crummy packaging? Is the music bad?
The answer is: The music is outstanding. I don't know why Sony is not supporting this better. The first disk, Flamma Flamma, which I heard in 1996, is a sort of cantata for a chorus singing in Latin and an eclectic collection of instruments. The music ranges from thrilling and bold to beautiful and languorous. The second disk is somewhat similar. Here some of the simplicity is lost in a richer layering of melodies, but much is gained as well. The main difference is that the libretto is more meaningful and the music responds to the lyrics. There is more turn-taking among the singers. So while the first disk is cantata-like, the second one is more operatic.
The third disk is a larger departure from the first one than the second was. Neither opera nor cantata, this one is more like one long song. There are 19 tracks, but there is often no actual pause between the tracks. This music is less immediately accessible. The whole thing is more subdued. The electronic effects are more salient. Simple melodies are spread over a base of dissonant sounds. I can frequently return to the Fire Requiem without finding that I am tired of it, but I would not say that my appreciation of it deepens. In contrast, Amor Aeternus seems to be growing on me."
Classical fusion at its wildest
D. Anthony Patriarche | Victoria BC | 01/17/2007
(5 out of 5 stars)
"I first heard a short segment of the first part of this trilogy on the radio in my car, and knew at once I had heard a unique new voice in music and had to know who it was. Of course, any composer who successfully combines traditional cantata including prominent counter-tenor parts, singing in Latin, with the Bulgarian Women's Choir was a shoo-in for me, as a sometime counter-tenor myself with two daughters who sing Balkan music. The music is hard to describe as it is a veritable farrago of classical, folk, techno, trance-metal styles -- a description which might sound horrible but which Lens makes an integrated whole with complete success.
Almost as soon as I got the first CD, it migrated to my daughter's bedroom and I haven't seen it since. Years later when I saw the three-CD set of the complete trilogy, I bought it for myself for a Christmas present!
While I haven't yet had a chance to become as familiar with parts 2 (Terra Terra) and 3 (Amor Aeternus) as with the original Flamma Flamma, my impression is that the first work is the most innovative and successful as a musical unity; Terra Terra is more contemplative and varied in texture; and Amor Aeternus is the most quirky and techno-influenced. All three works are absolutely compelling listening. I got in trouble with my building manager for the first time ever playing Amor Aeternus at what I thought was a decent volume with my new sub-woofer ("Did you know you could be heard four floors up", he said).
You will either love or hate this music. I can think of nothing to compare it with; some have hailed Lens as the new Carl Orff, but while I can see the commonalities, it's a bit like comparing a painting by Monet with one by van Gogh - with a substantial dash of Dali thrown in."
Track Listings (3) - Disc #1