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MP3 Melosphere - Tempi con Variazioni

A new-world time fusion of classical, jazz and tango inspired music.

11 MP3 Songs in this album (66:11) !
Related styles: World: World Fusion, Classical: Chamber Music, Type: Lyrical

People who are interested in Astor Piazzolla Nigel Kennedy Silk Road Project should consider this download.

For more info about the recording and the band, goto https://www.tradebit.com


Suzie LeBlanc, soprano
Helmut Lipsky, violin

Stefan Kling, piano
Jean-François Martel, bass
Tobias Morgenstern, accordion
Pierre Tanguay, percussion
Alex Weimann, keyboards

David Hall, organ
Chris Norman, flute

Producer/Engineer: Earl McCluskie

Recorded live at St George’s Cathedral, Kingston, June 27, 2008 (tracks 1-3, 7-10) and in studio at
La Chapelle historique du Bon-Pasteur, Montreal (tracks 4-6, 11).

All songs written by Helmut Lipsky except tracks 8, 10 - (Astor Piazzolla) and track 11 –
(Franz Schubert, arr. Helmut Lipsky). Lyrics track 7, Volker Thomsen; track 9, Elizabeth Bishop.



Mélosphère was formed in 1982 by violinist-composer Helmut Lipsky with musicians from Quebec City. Reconstituted in Montreal with pianist James Gelfand, Jim Hillman, saxophonist Simon Stone and others, the septet made the LP Melosphere (Jazzimage) in 1986 and appeared at the Montreux International Jazz Festival in 1987. Mélosphère overlapped in 1988 with Lipsky''s second band, Éclectique Électrique, better known as Unclassified, with Karen Young, who has often participated in the violinist''s projects. A CD, Unclassified, was issued by Amplitude in 1992.

Since the mid 90s, Melosphere has collaborated in Canada and Europe in numerous concert and recording projects with Berlin-based “L’art du passage” musicians Stefan Kling, piano and Tobias Morgenstern, accordion. They have introduced elements of the revolutionary Argentine master Astor Piazzolla, and collaborated with the renowned Canadian Baroque soprano Suzie LeBlanc.

The resulting Melosphere texture crosses a wide range of genres and melds them into a kind of new-world time-fusion sound that incorporates programmatic forms with an underlying narrative element.

Along with co-productions with CBC Espace Musique and Chestnut Hall Music and a week-long appearance at the 2008 World Wind Energy Conference that culminated in a performance at the Kingston Cathedral, the ensemble brought its timeless mix to the 400 year anniversary celebrations in Quebec City in 2008, which led to the release of a new CD “Tempi con Variazioni” featuring a live recording from the Kingston concert and a studio recording of the title work made in the beloved Montreal monastery La Chapelle historique du Bon-Pasteur.


Tempi con Variazioni

I: Gothic-Renaissance-Baroque-Classical
II: Romantic-Impressionist-Modern
III: Jazz-Contemporary Pop

On a stormy November day in 1605, the inhabitants of a remote country parish gathered for a concert in a small secluded church. Arriving at the last moment in a mysterious horse drawn carriage, the musicians disembarked and headed for the stage with their instruments.

As the first musical notes resonated throughout the hall, a torrential rain poured down upon the church and the concert took a magical turn. The music evoked the imagination of the audience, summoning their hidden memories and deepest desires. It triggered secret impulses and incited the occurrence of surprising events. It orchestrated the movement of day into night, the changing of seasons, and the passing of years. Slipping through time, the ever-changing music played onwards, drawing everyone’s life along behind it; until the concert comes to a startling end…

The “concert” itself consists of a single musical piece in the form of a rondo; a composition involving a recurrent theme interlaced with musical variations.

Not only do the interludes vary in mood and texture, but the theme itself evolves throughout the piece, allowing for a great number of diverse dramatic punctuations. Moreover, the repetitive nature of the rondo facilitates its metamorphosis throughout time, from the baroque to the classical, romantic, and various modern musical styles.

Stephen Pleszczynski, Salamander Productions



It''s entirely reasonable that Helmut Lipsky would one day come around to playing tango music, just as it''s entirely likely that he will move on in time to something else. The Montreal violinist -- born in Germany, raised in Switzerland, trained in Switzerland and the United States -- is the most cosmopolitan of musicians. And tango -- originating in Argentina, renewed in Europe -- is the most cosmopolitan of music.

Lipsky''s background is in the classics, but he has made his mark as a true eclectic in his 23 years as a Montreal resident, beginning with the popular fusion-jazz ensemble Mélosphère of the 1980s and overlapping with the aptly named Unclassified at the turn of the 1990s. If you can take the musician out of the European tradition, though, you can''t take the European tradition out of the musician.

Not this one, anyway -- which means, when it comes to tangos, Lipsky is ideally equipped to handle both their expressive freedom and their structural formality. And he was handling them quite lightly and warmly at that on Wednesday night before a small audience at the Lula Lounge, cradling the violin as closely as possible to his torso, and working his hands and bow in caressing motions that belied the rousing and swooning passions that he summoned from the instrument.

Mark Miller, Globe and Mail


Lipsky has collaborated with some of his European associates to bring to life his vivid impressionistic images, mythological depictions or dramatic, even passionate, human encounters.

And so, the tango is an appropriate vehicle for Lipsky’s vision of larger-than-life emotional drama… which he describes thusly: “tenderness, fragility, longing, passion, anger, pain… A melancholic slow dance with a perfume of tango and the pulse of desire and despair…. the exquisite anguish, of course, going over the top throughout the repetitive motive that suggests Lipsky’s past involvement with movie scores.

A pattern starts to develop, and a suspicion starts to form, during the next track, “Rêverie,” which Lipsky says describes “the first rays of sunlight” as they “illuminate the desert. A caravan is passing, camels are loaded…
And once again, the arrangement—performed without a doubt by top-caliber musicians—attains cinematic vibrancy through accepted sonic resemblances to cute Middle Eastern images with devices like hand drumming and plucked strings over yet another repeated theme (although Kling does contribute an illuminating piano solo), that theme oscillatory rather than circular in its regularity.

Don Williams, https://www.tradebit.com

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