Album reviews
Daejeon Philharmonic Choir
`Handel: Dixit Dominus, HWV 232’
(SonyBMG Korea)
The Daejeon Philharmonic Choir brings a collection of Baroque choral music ― the first of its kind in the country to be released under a major label.
During a time when album sales are at an all-time low, it appears risky to present something so specialized as an album of 18th-century Catholic liturgical works. But it seems this is precisely what the industry needs ― a recording with a strong hue that will appeal to a niche audience. Besides, anyone can easily appreciate pristine, silvery vocals.
What’s more, the project attests to the esteemed level of period music-making in Korea; last year marked the 250th anniversary of Handel’s death, and various festivals invited musicians from near and far, including Maestro Helmut Rilling, for concerts.
The track list includes the titular Handel piece, ``Dixit Dominus,’’ which is a part of Vespers (evening prayers), as well as ``Deus ad Adjuvandum me Festina,’’ TV 593 by ``the red priest’’ Vivladi and Credo in F major by Lotti. The latter is a part of Mass.
Winfried Toll, who succeeds Rilling as conductor for the famed Frankfurter Kantorei Chorus, and has been leading the Daejeon Philharmonic Choir as its artistic director since 2007. Ever since presenting Bach’s Mass in B minor in 2008, the group has been credited with expanding the horizons of the domestic chorus scene ― they shine through and through in the album.
Camerata Antiqua Seoul, which became reputed for playing for Baroque opera productions, provides tasteful orchestral accompaniment.
Moreover, shining opera stars including countertenor David DQ Lee, sopranos Seok Hyun-su and Cho Youn-cho, tenor Kim Ji-uk and baritone Yu Seung-mun provide stellar solos.
In the Handel piece, Lee’s instrument in particular brings the magic of liturgical singing by castrati that was dominant during Handel’s time. Cho appears again as soloist in the Vivaldi piece, which is a response to the opening phrase of the initial verse of Psalm 70.
The album jacket provides details, including lyrics, historical background and bibliographical notes, in both English and Korean. With local events such as the annual Goyang Choir Festival bringing choristers into the public spotlight, the album will be an interesting example that exemplifies the phenomenon.
Why we recommend it: This collection of 18th-century Catholic liturgical works appeals to a niche audience, but anyone can easily appreciate pristine, silvery vocals.
Best track: Handel’s ``Dixit Dominus, HWV 232’’
Three and a half out of four stars
-Lee Hyo-won
Hi, Mr. Memory
‘I’m Right Here’
(Sony Music Korea)
Singer-songwriter Mr. Memory’s second studio album finds the same emotional intimacy in his writing, though with a quieted sense of relaxation moving away from the grand gestures and sticking with a classic rock sound.
``Kkotseuni Ee-yagi’’ boasts a beach upbeat reminiscent of Jack Johnson before breaking into a dainty electric guitar solo. The reprise works best, with its Le Tigre bass bringing a needed edge to the otherwise soft album. Smooth, single-audience acoustics work particularly well for ``While Drinking Coffee,’’ which plays on Mr. Memory’s naturally languid sound, lyrics nearly coming to a stop in a fading manner.
Fans will also appreciate the revamped version of his first release’s ``Hangover,’’ as well as the 2008 ``Fat Boy.’’ Though the artist’s use of English is at times unnecessarily odd (``Fat Boy’’ would’ve been just as endearing in Korean), it nevertheless adds to a home-made quality that the album, in every breath, exudes.
Three stars out of four.
― Ines Min
Shugo Tokumaru
`Port Entropy'
(P-Vine)
Indie fairy tales and (non-creepy) dollhouses; dusty sunlight and attic bedrooms. Japanese artist Shugo Tokumaru manages to create picturebooks out of each of his compositions, filled with the highs and curiosity of a small child (with instruments ranging from the theramin to the ukulele).
While some have panned Tokumaru’s fifth album as more of the same, the artist finds maturity in the separation of his own genres and time periods ― all through a rose-colored lens. While ``Orange’’ recalls the metallic ting of worn Soviet music boxes and culminates in the collective sounds of a circus closing up shop, ``Laminate’’ manages an Elliott Smith-solemnity paired with the minor switches and scales. ``Linne’’ recalls the style of old-West saloon pianos, followed quickly by the staccato call of ``Lahaha.’’
``Entropy’’ may not be for everyone, but for those in for the ride will find themselves traveling between the playground landscape of Tokumaru, inevitably cheered by his idyllic vision.
Three and a half stars out of four.