Hyacinthus "Fantasia en concerto" (Viajero Inmovil 2004)
Das zweite Album des Symphonic Rockers Jacinto Miguel Corral, der sich den Künstlernamen Hyacintus gab, ist ein verträumtes, lyrisches Werk, wie es so nur aus Südamerika kommen kann. Hyacintus spielt viele Instrumente selbst, so dass er nur einen Schlagzeuger als Begleitung braucht. Dennoch fand er in verschiedenen Songs Unterstützung durch weitere Musiker. "Fantasia en concerto" ist die zutreffende Bezeichnung für die CD. Die hochmelodischen Songs in stilistischer Nähe zu Mike Oldfield und artverwandten Musikern der melodisch-symphonischen Musik sind bombastisch und keyboardlastig ohne Ende. Da werden Tastenberge aufgefahren, unterstützt von elektronischen Klängen, aktiver Gitarre und dem zurückhaltenden, aber brauchbaren Rhythmus. Das vielschichtige Geschehen ist ansprechend, hin und wieder aber etwas zu niedlich. Die 8 Songs und ebenso vielen kurzen Zwischenstücke gehen ineinander über, da wechseln sich träumerische Motive mit vertrackten Ideen ab. Das bis auf einen Song instrumentale "Fantasia en concerto" wirkt kompakt und straff arrangiert, selbst die süßlichen Stücke sind nicht zu lang, so dass Langeweile nicht aufkommt. Die Melodiker unter den Prog Freaks werden mit Hyacintus was anfangen können, die "Schrägen" müssen indes Schnee fegen.viajeroinmovil.com
VM
jueves, 19 de junio de 2008
HYACINTUS “Fantasia en Concerto”
Jacinto Miguel Corral: guitarra eléctrica, acústica y clásica, piano, teclados, bajo, violín, cello, percusión midi, coros.
Invitados ocasionales: Jose Luis Hernandez (batería), Hugo Bistolfi (teclados), Adrian Barilari (voz), Daniel Sanchez (stick y bajo), Victor Sanchez (percusión), Ariel Sanchez (melódica), Ana de Marchi (cello), Mery (voces).
Con su segundo disco, Hyacintus nos vuelve a demostrar por qué debe ser considerado como uno de los creadores más inspirados de la actual escena progresiva sinfónica latinoamericana. Dos años después de “Elydian”, Hyacintus edita este nuevo disco conceptual, que a diferencia de aquél, no se centra en una narración sucesiva de eventos, sino en una experiencia psicológica y existencial. El concepto se centra en las sensaciones que a través de un instante experimenta un hombre durante un concierto; dado que este hombre es un solitario que vive en una casa frente al mar, él siente la música como un flujo de olas que viene y van... hasta que los aplausos finales del público lo devuelven a la conciencia del tiempo, dejándolo con la intriga de cuánto de su experiencia fue real. Dada la naturaleza cohesiva de este concepto, Hyacintus se esmera en recrear musicalmente esta experiencia a través de un repertorio que funciona como una totalidad compacta y bien engarzada a través de cada tema particular. El recurso de los breves interludios insertados entre los temas principales resulta crucial a la hora de crear y mantener esa unidad.
Las composiciones y arreglos dan testimonio del gusto exquisito y talento académico de Hyacintus; el tenor del disco tira muy claramente hacia lo épico, sostenido mayormente por las intensas orquestaciones de teclado. Esta orientación épica resulta eficaz a la hora de resaltar la fuerza expresiva de las melodías y texturas de los temas, ya sea el rockero “L’over”, los solemnes “Antique Song” e “Íntimo”, el misterioso “Relmu Tromen”, y sobre todo, el majestuoso “White Mind”, que en mi opinión constituye el momento más arrebatador e inspirado del disco. Pero más allá de estos casos particulares que acabo de mencionar, quiero recalcar nuevamente que lo que más se destaca en “Sinfonia en Concerto” la cohesión que atraviesa unifica el disco como una totalidad compacta.
César Inca
Invitados ocasionales: Jose Luis Hernandez (batería), Hugo Bistolfi (teclados), Adrian Barilari (voz), Daniel Sanchez (stick y bajo), Victor Sanchez (percusión), Ariel Sanchez (melódica), Ana de Marchi (cello), Mery (voces).
Con su segundo disco, Hyacintus nos vuelve a demostrar por qué debe ser considerado como uno de los creadores más inspirados de la actual escena progresiva sinfónica latinoamericana. Dos años después de “Elydian”, Hyacintus edita este nuevo disco conceptual, que a diferencia de aquél, no se centra en una narración sucesiva de eventos, sino en una experiencia psicológica y existencial. El concepto se centra en las sensaciones que a través de un instante experimenta un hombre durante un concierto; dado que este hombre es un solitario que vive en una casa frente al mar, él siente la música como un flujo de olas que viene y van... hasta que los aplausos finales del público lo devuelven a la conciencia del tiempo, dejándolo con la intriga de cuánto de su experiencia fue real. Dada la naturaleza cohesiva de este concepto, Hyacintus se esmera en recrear musicalmente esta experiencia a través de un repertorio que funciona como una totalidad compacta y bien engarzada a través de cada tema particular. El recurso de los breves interludios insertados entre los temas principales resulta crucial a la hora de crear y mantener esa unidad.
Las composiciones y arreglos dan testimonio del gusto exquisito y talento académico de Hyacintus; el tenor del disco tira muy claramente hacia lo épico, sostenido mayormente por las intensas orquestaciones de teclado. Esta orientación épica resulta eficaz a la hora de resaltar la fuerza expresiva de las melodías y texturas de los temas, ya sea el rockero “L’over”, los solemnes “Antique Song” e “Íntimo”, el misterioso “Relmu Tromen”, y sobre todo, el majestuoso “White Mind”, que en mi opinión constituye el momento más arrebatador e inspirado del disco. Pero más allá de estos casos particulares que acabo de mencionar, quiero recalcar nuevamente que lo que más se destaca en “Sinfonia en Concerto” la cohesión que atraviesa unifica el disco como una totalidad compacta.
César Inca
Autore: HYACINTUS.Titolo album: Fantasia en concerto
Recensito da Donato Zoppo
La potenza della musica e della fantasia
Jacinto Miguel Corral è una sorta di Mike Oldfield argentino: polistrumentista di lusso, ha confezionato l’ambizioso “Fantasia en concerto”, un interessante disco di rock sinfonico tipicamente sudamericano, edito dall’attiva Viajero Inmovil.E’ un interessante concept-album, ispirato ad un uomo che viveva in mare, isolato dalla società del suo tempo per il suo carattere idealista. Un giorno arriverà a terra e scoprirà un concerto, quello della sua vita… Un disco dedicato alla potenza della musica e della fantasia, ad un uomo che sogna e soffre. Come per i dischi di Steve Mc Cabe (Elegant Simplicity) e del francese Jean-Pascal Boffo, i solchi del cd scorrono con piacere: da aperture pompose e sostenute (“L’over”) ad incalzanti melodie (“Antique song”), fino al rock romantico di “Intimo”. Tra i singoli brani ci sono distinti “Passages”, cioè brevi strumentali di raccordo, tra folk, rock, musica da camera e sinfonie. Peccato per la programmazione ritmica, che penalizza l’album. Ricordiamo anche che Corral ha inserito anche estratti della sua “Fantasia Orchestrale in Do maggiore”.“Geomelodysong” è un marcato pop sinfonico, “Relmu Tromen” un episodio evocativo e impalpabile; in “Desir de libertè” entrano molti ospiti e la musica si fa più minacciosa, oscura, un vigoroso art rock che si eleva dal resto dei brani. “White mind” è un momento drammatico, con possenti archi e il solismo gilmouriano di Corral. Nel trittico di brani finale si evidenzia una certa enfasi e grandeur: synths e la calda chitarra di Jacinto, in coda l’unico brano cantato (“Quien eres tu”), un commiato di grande intensità per un messaggio universale, quello della ricerca interiore.La condizione di one man-band nel rock progressivo ha portato raramente a dei capolavori. Molto spesso le idee, magari vincenti e lodevoli, non vengono sviluppate in modo adeguato. E’ proprio il caso di Hyacintus, che realizza un disco piacevole ma non così bello come vorremmo.
La potenza della musica e della fantasia
Jacinto Miguel Corral è una sorta di Mike Oldfield argentino: polistrumentista di lusso, ha confezionato l’ambizioso “Fantasia en concerto”, un interessante disco di rock sinfonico tipicamente sudamericano, edito dall’attiva Viajero Inmovil.E’ un interessante concept-album, ispirato ad un uomo che viveva in mare, isolato dalla società del suo tempo per il suo carattere idealista. Un giorno arriverà a terra e scoprirà un concerto, quello della sua vita… Un disco dedicato alla potenza della musica e della fantasia, ad un uomo che sogna e soffre. Come per i dischi di Steve Mc Cabe (Elegant Simplicity) e del francese Jean-Pascal Boffo, i solchi del cd scorrono con piacere: da aperture pompose e sostenute (“L’over”) ad incalzanti melodie (“Antique song”), fino al rock romantico di “Intimo”. Tra i singoli brani ci sono distinti “Passages”, cioè brevi strumentali di raccordo, tra folk, rock, musica da camera e sinfonie. Peccato per la programmazione ritmica, che penalizza l’album. Ricordiamo anche che Corral ha inserito anche estratti della sua “Fantasia Orchestrale in Do maggiore”.“Geomelodysong” è un marcato pop sinfonico, “Relmu Tromen” un episodio evocativo e impalpabile; in “Desir de libertè” entrano molti ospiti e la musica si fa più minacciosa, oscura, un vigoroso art rock che si eleva dal resto dei brani. “White mind” è un momento drammatico, con possenti archi e il solismo gilmouriano di Corral. Nel trittico di brani finale si evidenzia una certa enfasi e grandeur: synths e la calda chitarra di Jacinto, in coda l’unico brano cantato (“Quien eres tu”), un commiato di grande intensità per un messaggio universale, quello della ricerca interiore.La condizione di one man-band nel rock progressivo ha portato raramente a dei capolavori. Molto spesso le idee, magari vincenti e lodevoli, non vengono sviluppate in modo adeguato. E’ proprio il caso di Hyacintus, che realizza un disco piacevole ma non così bello come vorremmo.
Hyacintus - Fantasia en concerto
CD Kritik Progressive Newsletter Nr.48 (04/2004)
Hyacintus - Fantasia en concerto (49:02, Viajero Inmovil, 2003)
Auf seinem ersten Album "Elydian" bewies der Multi-Instrumentalist Jacinto Miguel Corral (Gitarre, Keyboards, Bass, Cello, Percussion) ein gutes Gespür für konzeptuelle sinfonische Instrumentalmusik mit klassischen Momenten. Der Nachfolger mit dem verheißungsvollen Namen "Fantasia en concerto" schippert prinzipiell durch ähnliches Fahrwasser, leider gerät das Gefährt dabei doch arg ins Schlingern, ist kurz vorm Kentern. Die Angriffsfläche ist groß. Das fängt bei den synthetischen, klebrigen Klanggemälden an, die nahe an Schmalz und Heimwerkerpeinlichkeit gebaut sind, geht weiter bei zu unausgewogenen, aus zu vielen Versatzstücken bestehenden Kompositionen und endet letztendlich bei zu viel inhaltlicher Leere, einer fehlenden einheitlichen Linie. Dabei hat der argentinische Handwerker in seinen einfach zu steril daherkommenden Ideen durchaus interessante Aspekte versteckt. Doch zu billige Sounds, zu klangliche Eindimensionalität kleistert vieles an vorhandenem Potenzial wieder zu. Die sorgsamen Einfällen werden einfach durch einen zu großen Klangmatsch verschüttet. So hinterlässt "Fantasia en concerto" leider nur wenig Erbauliches. Vielleicht wird's beim nächsten mal wieder besser. Kristian Selm
Hyacintus - Fantasia en concerto (49:02, Viajero Inmovil, 2003)
Auf seinem ersten Album "Elydian" bewies der Multi-Instrumentalist Jacinto Miguel Corral (Gitarre, Keyboards, Bass, Cello, Percussion) ein gutes Gespür für konzeptuelle sinfonische Instrumentalmusik mit klassischen Momenten. Der Nachfolger mit dem verheißungsvollen Namen "Fantasia en concerto" schippert prinzipiell durch ähnliches Fahrwasser, leider gerät das Gefährt dabei doch arg ins Schlingern, ist kurz vorm Kentern. Die Angriffsfläche ist groß. Das fängt bei den synthetischen, klebrigen Klanggemälden an, die nahe an Schmalz und Heimwerkerpeinlichkeit gebaut sind, geht weiter bei zu unausgewogenen, aus zu vielen Versatzstücken bestehenden Kompositionen und endet letztendlich bei zu viel inhaltlicher Leere, einer fehlenden einheitlichen Linie. Dabei hat der argentinische Handwerker in seinen einfach zu steril daherkommenden Ideen durchaus interessante Aspekte versteckt. Doch zu billige Sounds, zu klangliche Eindimensionalität kleistert vieles an vorhandenem Potenzial wieder zu. Die sorgsamen Einfällen werden einfach durch einen zu großen Klangmatsch verschüttet. So hinterlässt "Fantasia en concerto" leider nur wenig Erbauliches. Vielleicht wird's beim nächsten mal wieder besser. Kristian Selm
Hyacintus – Fantasia En Concerto
Tracklist: Intro Terra Hoxe (0:47), L’over (3:27), Passage Terra I (0:28), Antique Song (5:09), Passage Terra II (0:53), Geomelodysong (3:36), Passage Terra III (0:54), Relmu Tromen (4:40), Passage Terra IV (1:01), Desir Du Liberte (5:18), Passage Terra V (1:05), Intimo (3:40), Passage Terra VI (1:39), White Mind (6:47), Terra Hoxe Final (2:33), Quien Eres Tu (6:45)
Fantasia En Concerto is the second album from Hyacintus, primarily the work of Argentine multi-instrumentalist Jacinto Miguel Corral, and follows his debut CD Elydian from 2002.
Fantasia… is a grandiosely imagined concept piece of classically inspired symphonic rock. The story is of a lonely man who attends a concert and finds his dreams and reality merging as he listens to the music. The odd numbered tracks feature the highly orchestral sounding Terra Hoxa Suite and the even numbered tracks represent the man’s dreams and experiences as he listens. The tracks all neatly flow one into another, making this a satisfying listen when taken in one sitting.
There are several guests, contributing bass, keyboards, melodica, cello and vocals, but they are largely confined to two tracks (Desir Du Liberte and Quien Eres Tu). Interestingly, a drummer is credited, but the drums sound almost entirely electronic, which is the weakest link on this otherwise excellent album. Corral therefore carries most of what you will hear on this album, consisting mainly of keyboard and guitar led symphonic rock, mixing bright upbeat pieces (the bouncy opener L’over) with some slower, slightly darker tinged tunes (Relmu Tromen). Always, though, the material is very melodic with many enjoyable tunes and motifs running through each and every track.
Underpinning the sound is the synthetically simulated orchestra conjured up by Corral on his keyboards (occasionally veering towards the synthesiser symphonies of Wendy Carlos or Tomita) making this a work that may also appeal to fans of The Enid – though it doesn’t really sound like them - but where Jacinto really shines is as a guitarist. His playing throughout the disc is immensely enjoyable, with uplifting melodies flowing from his guitar at every turn. Occasionally the sound takes a spacier turn, drifting almost into Pink Floyd territory. Although immediately accessible, the multi-layered structure ensures that there are many nuances waiting to be discovered on subsequent listens, making this a disc that will surely have lasting appeal.
The first fifteen tracks are entirely instrumental, with only the closer Quien Eres Tu featuring vocals. This is a rockier tune than the preceding pieces, though it starts off all moody and emotional, with the vocalist leaning in the direction of many a metal shouter as the song gathers pace in its second half.
The only gripe I have with this disc is that the overall enjoyment is brought down a notch or two by the electronic percussion, but the melodies are usually engaging enough to divert your attention away from this. The production on the majority of the disc is bright – and occasionally shrill - but this mostly suits the style of the music.
I would have liked to be able to program the disc to play the Terra Hoxa Suite in its entirety, making for a nine-minute plus symphonic suite, but as the fragments of the suite are designed to segue with the other tracks, it prevents this from being practical. This doesn’t detract from the disc but would have been a nice bonus.
This is another fine offering of South American Progressive rock from the wonderful Viajero Inmovil label, and the cardboard gatefold mini album sleeve design is up to their usual high standards.
I think this work could have a wide appeal amongst fans of symphonic rock, particularly those favouring more melodic and accessible material.
Conclusion: 7.5 out of 10
Dave Sissons
Fantasia En Concerto is the second album from Hyacintus, primarily the work of Argentine multi-instrumentalist Jacinto Miguel Corral, and follows his debut CD Elydian from 2002.
Fantasia… is a grandiosely imagined concept piece of classically inspired symphonic rock. The story is of a lonely man who attends a concert and finds his dreams and reality merging as he listens to the music. The odd numbered tracks feature the highly orchestral sounding Terra Hoxa Suite and the even numbered tracks represent the man’s dreams and experiences as he listens. The tracks all neatly flow one into another, making this a satisfying listen when taken in one sitting.
There are several guests, contributing bass, keyboards, melodica, cello and vocals, but they are largely confined to two tracks (Desir Du Liberte and Quien Eres Tu). Interestingly, a drummer is credited, but the drums sound almost entirely electronic, which is the weakest link on this otherwise excellent album. Corral therefore carries most of what you will hear on this album, consisting mainly of keyboard and guitar led symphonic rock, mixing bright upbeat pieces (the bouncy opener L’over) with some slower, slightly darker tinged tunes (Relmu Tromen). Always, though, the material is very melodic with many enjoyable tunes and motifs running through each and every track.
Underpinning the sound is the synthetically simulated orchestra conjured up by Corral on his keyboards (occasionally veering towards the synthesiser symphonies of Wendy Carlos or Tomita) making this a work that may also appeal to fans of The Enid – though it doesn’t really sound like them - but where Jacinto really shines is as a guitarist. His playing throughout the disc is immensely enjoyable, with uplifting melodies flowing from his guitar at every turn. Occasionally the sound takes a spacier turn, drifting almost into Pink Floyd territory. Although immediately accessible, the multi-layered structure ensures that there are many nuances waiting to be discovered on subsequent listens, making this a disc that will surely have lasting appeal.
The first fifteen tracks are entirely instrumental, with only the closer Quien Eres Tu featuring vocals. This is a rockier tune than the preceding pieces, though it starts off all moody and emotional, with the vocalist leaning in the direction of many a metal shouter as the song gathers pace in its second half.
The only gripe I have with this disc is that the overall enjoyment is brought down a notch or two by the electronic percussion, but the melodies are usually engaging enough to divert your attention away from this. The production on the majority of the disc is bright – and occasionally shrill - but this mostly suits the style of the music.
I would have liked to be able to program the disc to play the Terra Hoxa Suite in its entirety, making for a nine-minute plus symphonic suite, but as the fragments of the suite are designed to segue with the other tracks, it prevents this from being practical. This doesn’t detract from the disc but would have been a nice bonus.
This is another fine offering of South American Progressive rock from the wonderful Viajero Inmovil label, and the cardboard gatefold mini album sleeve design is up to their usual high standards.
I think this work could have a wide appeal amongst fans of symphonic rock, particularly those favouring more melodic and accessible material.
Conclusion: 7.5 out of 10
Dave Sissons
progarchives
Cesar Inca (César Inca Mendoza Loyola) SPECIAL COLLABORATOR Honorary Collaborator
Hyacintus’ second CD, 'Fantasia en Concerto', has been released in late October 2003. Once again, a concept-album, this time not focused on a narrative, but on a psychological experience that a loner goes through during a concert. Hyacintus manages to convey the unity of this situation into the score and the arrangements of the new material; as a result, 'Fantasia...' feels much more cohesive and mature than its predecessor. His compositional and technical skills are as impeccable as usual – the improvement occurred in the arrangement department. The idea of using interludes between the eight major themes proved quite effective for that matter - those interludes are actually extracts from 'Terra Hoxe', an orchestral piece Hyacintus wrote some long ago. When compared to the previous CD 'Elydian', you can tell that the epic side of Hyacintus’ music has been worked on, to make it sound more polished and energetic. In fact, this sense of majestic strength is present from beginning to end – in the rocker 'L'over', the ethereal 'Relmu Tromen', and the more introspective numbers 'Intimo' and 'Antique Song', just to put a few examples. The zenith of this symphonic exhibition is superbly represented in the half-wagnerian half- mahlerian 'White Mind'. Generally speaking, the electric guitar fills the role of "leading actor" instrument all along, while the keyboards are used mostly to create impressive orchestral layers and textures, as if they were a grandiose, demanding "supporting cast". The closing number, a symphonic semi-ballad entitled "Quien Eres Tú" (the only one with vocals in it), gives a proper end to 'Fantasia...' in an emotional way, keeping the bombastic tone that has been general along the CD. Conclusion: a great example of symphonic prog made in Latin America, which might be as well enjoyed by those who were gratefully impressed by Tempano's 'The Agony and the Ecstasy', for example.
Hyacintus’ second CD, 'Fantasia en Concerto', has been released in late October 2003. Once again, a concept-album, this time not focused on a narrative, but on a psychological experience that a loner goes through during a concert. Hyacintus manages to convey the unity of this situation into the score and the arrangements of the new material; as a result, 'Fantasia...' feels much more cohesive and mature than its predecessor. His compositional and technical skills are as impeccable as usual – the improvement occurred in the arrangement department. The idea of using interludes between the eight major themes proved quite effective for that matter - those interludes are actually extracts from 'Terra Hoxe', an orchestral piece Hyacintus wrote some long ago. When compared to the previous CD 'Elydian', you can tell that the epic side of Hyacintus’ music has been worked on, to make it sound more polished and energetic. In fact, this sense of majestic strength is present from beginning to end – in the rocker 'L'over', the ethereal 'Relmu Tromen', and the more introspective numbers 'Intimo' and 'Antique Song', just to put a few examples. The zenith of this symphonic exhibition is superbly represented in the half-wagnerian half- mahlerian 'White Mind'. Generally speaking, the electric guitar fills the role of "leading actor" instrument all along, while the keyboards are used mostly to create impressive orchestral layers and textures, as if they were a grandiose, demanding "supporting cast". The closing number, a symphonic semi-ballad entitled "Quien Eres Tú" (the only one with vocals in it), gives a proper end to 'Fantasia...' in an emotional way, keeping the bombastic tone that has been general along the CD. Conclusion: a great example of symphonic prog made in Latin America, which might be as well enjoyed by those who were gratefully impressed by Tempano's 'The Agony and the Ecstasy', for example.
Hyacintus (Argentina) - 2003 - "Fantasia en Concerto"
Hyacintus (Argentina) - 2003 - "Fantasia en Concerto" (49 min, Viajero Inmovil)
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TRACK LIST:
1. Intro Terra Hoxe 0:47
2. Lover 3:27
3. Passage Terra I 0:28
4. Antique Song 5:09
5. Passage Terra II 0:53
6. Geomelody Song 3:36
7. Passage Terra III 0:54
8. Relmu Tromen 4:40
9. Passage Terra IV 1:01
10. Desir de Liberte 5:18
11. Passage Terra V 1:05
12. Intimo 3:40
13. Passage Terra VI 1:59
14. White Mind 6:47
15. Terra Hoxe Final 2:33
16. Queren Eres tu 6:45
All tracks: by Corral, except
8: Corral / Mery, & 16: Barilari / Bistolfi.
Engineered by Corral & E. Martinez at "Temporal".
LINE-UP:
Jacinto Miguel Corral -
- electric, classical, & bass guitars;
- synthesizers & piano; violins
Jose Luis Hernandez - drums
With:
Victor Sanchez - percussion (on 4, 10, & 12)
Daniel Sanchez - Stick & bass (10)
Ariel Sanchez - melodica (10)
Ana De Marchi - cello (10)
Mery - vocalizes (10)
Adrian Barilari - vocals (16)
Hugo Bistolfi - keyboards (16)
Prolusion. "Fantasia en Concerto" is the second album by the Argentinean project, Hyacintus. The first one was released in 2002 and was >reviewed on Progressor as well.
Synopsis. All of the odd tracks on the album are parts of the united Terra Hoxe suite, subtitled as Orchestral Fantasy in Do-major and composed by the man behind Hyacintus, Jacinto Miguel Coral, especially for this album. All of them represent a pure Classical Music performed by a symphonic orchestra (with the addition of electric guitar solos on 3, 13, & 15) and are brilliant despite their brevity. Nevertheless, I would prefer to have the suite in its original, monolithic form on the CD. But well, such is the author's conception of the album, and it isn't the task of the present reviewer to contest it, especially since some of the even tracks are much in the same vein. Generally, all the music on "Fantasia en Concerto" is classically influenced, and what is more, all of the even tracks are stylistically uniform as well. In short, the stylistic picture of the album is exceptionally consistent. The music is very effective and is a rather unusual, but definitely unique synthesis of Modern Symphonic Art-Rock and Classical Music with the slight prevalence of Rock-related textures in the first half of the album and vice versa in another. Here, the main soloing instruments are synthesizers, piano, electric guitar and bass and varied, real and unreal, string instruments, while the parts of classical guitar play a significant role only on Desir de Liberte (10). By the way, this composition especially striking reflects the essence of the album, its mixed, somewhat classically modern nature. The last track: Queren Eres tu (16) also has some specifications. This is the only song on the album and it features excellent heartfelt vocals. However, all the instrumental arrangements here are done within the framework of the album's predominant stylistics as well. Of course, it would've been better if there were more real string and chamber instruments on the album. On the other hand, the possibilities of modern synthesizers are so wide that it is sometimes hard to immediately recognize whether it's a real orchestra or a string ensemble. As usual, programmed drums may turn purists away from the thing, but not me. In any case, the compositional and performance aspects of this music are of a high quality.
Conclusion. The hero of this review is a slight, yet, noticeable improvement over the first Hyacintus effort. In other words, those who enjoyed "Elydian" will be highly pleased with "Fantasia en Concerto". Of course, the album is destined exclusively to the lovers of Classic Symphonic Progressive.
VM: February 9, 2004
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TRACK LIST:
1. Intro Terra Hoxe 0:47
2. Lover 3:27
3. Passage Terra I 0:28
4. Antique Song 5:09
5. Passage Terra II 0:53
6. Geomelody Song 3:36
7. Passage Terra III 0:54
8. Relmu Tromen 4:40
9. Passage Terra IV 1:01
10. Desir de Liberte 5:18
11. Passage Terra V 1:05
12. Intimo 3:40
13. Passage Terra VI 1:59
14. White Mind 6:47
15. Terra Hoxe Final 2:33
16. Queren Eres tu 6:45
All tracks: by Corral, except
8: Corral / Mery, & 16: Barilari / Bistolfi.
Engineered by Corral & E. Martinez at "Temporal".
LINE-UP:
Jacinto Miguel Corral -
- electric, classical, & bass guitars;
- synthesizers & piano; violins
Jose Luis Hernandez - drums
With:
Victor Sanchez - percussion (on 4, 10, & 12)
Daniel Sanchez - Stick & bass (10)
Ariel Sanchez - melodica (10)
Ana De Marchi - cello (10)
Mery - vocalizes (10)
Adrian Barilari - vocals (16)
Hugo Bistolfi - keyboards (16)
Prolusion. "Fantasia en Concerto" is the second album by the Argentinean project, Hyacintus. The first one was released in 2002 and was >reviewed on Progressor as well.
Synopsis. All of the odd tracks on the album are parts of the united Terra Hoxe suite, subtitled as Orchestral Fantasy in Do-major and composed by the man behind Hyacintus, Jacinto Miguel Coral, especially for this album. All of them represent a pure Classical Music performed by a symphonic orchestra (with the addition of electric guitar solos on 3, 13, & 15) and are brilliant despite their brevity. Nevertheless, I would prefer to have the suite in its original, monolithic form on the CD. But well, such is the author's conception of the album, and it isn't the task of the present reviewer to contest it, especially since some of the even tracks are much in the same vein. Generally, all the music on "Fantasia en Concerto" is classically influenced, and what is more, all of the even tracks are stylistically uniform as well. In short, the stylistic picture of the album is exceptionally consistent. The music is very effective and is a rather unusual, but definitely unique synthesis of Modern Symphonic Art-Rock and Classical Music with the slight prevalence of Rock-related textures in the first half of the album and vice versa in another. Here, the main soloing instruments are synthesizers, piano, electric guitar and bass and varied, real and unreal, string instruments, while the parts of classical guitar play a significant role only on Desir de Liberte (10). By the way, this composition especially striking reflects the essence of the album, its mixed, somewhat classically modern nature. The last track: Queren Eres tu (16) also has some specifications. This is the only song on the album and it features excellent heartfelt vocals. However, all the instrumental arrangements here are done within the framework of the album's predominant stylistics as well. Of course, it would've been better if there were more real string and chamber instruments on the album. On the other hand, the possibilities of modern synthesizers are so wide that it is sometimes hard to immediately recognize whether it's a real orchestra or a string ensemble. As usual, programmed drums may turn purists away from the thing, but not me. In any case, the compositional and performance aspects of this music are of a high quality.
Conclusion. The hero of this review is a slight, yet, noticeable improvement over the first Hyacintus effort. In other words, those who enjoyed "Elydian" will be highly pleased with "Fantasia en Concerto". Of course, the album is destined exclusively to the lovers of Classic Symphonic Progressive.
VM: February 9, 2004
Artist/ Band: Hyacintus.Title: Fantasia En Concerto
Artist/ Band: HyacintusTitle: Fantasia En ConcertoLabel: Viajero Inmovil RecordsYear of Release: 2003
The Review:
This is another release from the South American Progressive rock label, Viajero Inmovil label, and as with other release, it’s in the cardboard gatefold mini album sleeve design. Hyacintas’ second release, Fantasia En Concerto continues in the tradition of great releases of this label. Hyacintas is primarily the work of Argentine multi-instrumentalist Jacinto Miguel Corral, along with some guest musicians. The arrangements on this CD sound very similar to the way Raimundo Rudulfo did on his The Dreams Concerto release a few years back.
Fantasia is a conceptual piece of classically inspired symphonic rock and the story line is about a lonely man who attends a concert where his dreams and reality merge as he listens to the music of the Terra Hoxa Suite. The odd numbered tracks are the concerto while the even numbered tracks represent the man’s dreams and experiences as he listens. The tracks all flow into the next so it’s recommended to listen in one sitting. The bulk of the music is intrumental with the exception of the final track where there's some vocals.
I would recommend this to fan’s of the more melodic progressive rock as well as those into the more classical based music.
Reviewed by Ron Fuchs on June 19th, 2004
Tracks:
1. INTRO TERRA HOXE
2. L'over
3. PASSAGE TERRA I
4. Antique Song
5. PASSAGE TERRA II
6. Geomelody Song
7. PAASAGE TERRA III
8. Relmu Tromen
9. PASSAGE TERRA IV
10. Desir de liberte (E.14)
11. PASSAGE TERRA V
12. Intimo
13. PASSAGE TERRA VI
14. White Mind
15. TERRA HOXE FINAL
16. Quien eres tu
The Review:
This is another release from the South American Progressive rock label, Viajero Inmovil label, and as with other release, it’s in the cardboard gatefold mini album sleeve design. Hyacintas’ second release, Fantasia En Concerto continues in the tradition of great releases of this label. Hyacintas is primarily the work of Argentine multi-instrumentalist Jacinto Miguel Corral, along with some guest musicians. The arrangements on this CD sound very similar to the way Raimundo Rudulfo did on his The Dreams Concerto release a few years back.
Fantasia is a conceptual piece of classically inspired symphonic rock and the story line is about a lonely man who attends a concert where his dreams and reality merge as he listens to the music of the Terra Hoxa Suite. The odd numbered tracks are the concerto while the even numbered tracks represent the man’s dreams and experiences as he listens. The tracks all flow into the next so it’s recommended to listen in one sitting. The bulk of the music is intrumental with the exception of the final track where there's some vocals.
I would recommend this to fan’s of the more melodic progressive rock as well as those into the more classical based music.
Reviewed by Ron Fuchs on June 19th, 2004
Tracks:
1. INTRO TERRA HOXE
2. L'over
3. PASSAGE TERRA I
4. Antique Song
5. PASSAGE TERRA II
6. Geomelody Song
7. PAASAGE TERRA III
8. Relmu Tromen
9. PASSAGE TERRA IV
10. Desir de liberte (E.14)
11. PASSAGE TERRA V
12. Intimo
13. PASSAGE TERRA VI
14. White Mind
15. TERRA HOXE FINAL
16. Quien eres tu
HYACINTUS: “Sinkronos” (2007)
Temas
Mission Dadá
Hipno Délfico
Ritual Lunar (El Fraude)
6. Sueño 1 [Shakespeare! (Ethical) / Explore (Plan SEA) / Implacable Kronos]
7-9. Sueño 2 [Asoma (SErA) / Heart Place / Mission Recordada] 10. Vesenevi
Jacinto Miguel Corral: guitarras eléctrica, clásica y acústica, teclados, bajo,
voz, instrumentos acústicos
Colaboradores - José Luis Hernández (batería), Daniel Sánchez (Stick, bajo), Víctor Sánchez (percusión), Ada Guitart (voz), Ana Tirigall (voz), Ed Martínez (batería)
“Sinkronos” es la tercera obra discográfica de Hyacintus, el talentoso multi-instrumentista argentino del cual no sabíamos mucho desde los días de “Fantasia en Concierto”, su excelente segundo disco que supuso un pico dentro del rock sinfónico latinoamericano en el nuevo milenio. La línea de trabajo aquí plasmada se aparta un poco de los climas preferentemente épicos a los cuales el mencionado segundo disco había dedicado un importante espacio, pero recoge del mismo un gusto por ambientes sonoros modernos dentro del estándar del rock progresivo. Como siempre, “Sinkronos” es un disco conceptual centrado en la misión que recibe un individuo, la misma que solo puede cumplir si deja que la dicha sea su guía: tenemos aquí una estructura narrativa subyacente de manera similar a como operaba el repertorio del disco debut “Elydian”.
El disco comienza abriendo las puertas de la extroversión con un pegadizo ritmo
de rock blueseado, sobre el cual se explayan los guitarreos y las orquestaciones de teclado con un claro acento estilizado: ‘Mission Dadá’ está diseñado para llamar la atención de manera directa sin apelar a lo pomposo. ‘Hipno Délfico’ torna hacia un aura ensoñadora y evocativa, marcada principalmente por las elegantes bases de piano y guitarra acústica en triangulación con las coloridas texturas de teclado: aquí hallamos un híbrido entre Wakeman y el Vangelis contemporáneo. ‘Ritual Lunar (El Fraude)’ retoma el
ambiente solemne de la pieza precedente y lo lleva a una dimensión más marchosa, similar a la faceta más fastuosa de Alan Parsons Project. Personalmente, hubiese preferido que la producción de sonido y los arreglos instrumentales hubiesen creado una sonoridad global más llena, pero definitivamente no cabe duda de que se trata de una composición bien lograda: el uso de una guitarra acústica a lo bosanova en la coda es un simpático adorno
inesperado. Después siguen dos series de tres temas cada una, ‘Sueño 1’ y ‘Sueño 2’. La primera de estas trilogías comienza con un ejercicio de rock sinfónico más sólido en comparación con ‘Ritual Lunar’: en ‘Shakespeare! (Ethical)’ hay una bien lograda integración de compases étnicos en la sección rítmica. ‘Explore (Plan SEA)’ tiene una solemnidad conmovedora a pesar de su sobriedad: los evocativos fraseos de piano y las dinámicas cortinas de teclado apelan, me parece, a una sensación de soledad. ‘Implacable Kronos’ se explaya en el dinamismo rockero, instaurando un ambiente de rock duro melódico con varios ornamentos de raigambre orquestal. A medida que nos acercamos al final de los 6 ½ minutos que dura esta pieza, las cosas se ponen gradualmente más pomposas, antes de que llegue una hermosa coda de guitarra clásica de tonalidades barrocas.
’Sueño 2’ comienza con un ‘Asoma (SErA)’ que recoge mucho de las cadencias y ambientes ya plasmados en el tema de entrada y ‘Shakespeare’, aunque se reconoce un tenor sinfónico más pronunciado. ‘Heart Place’ establece una envoltura pomposa para los retazos melancólicos dibujados por la guitarra clásica y las diversas capas armónicas de teclado. La naturaleza envolvente de la pieza la hace sobresalir dentro del repertorio. También sobresale ‘Mission Recordada’, primeramente por ser la pieza más extensa con sus 10 minutos de duración, pero también por su inteligente armazón de motivos y ambientes sinfónicos. El despliegue de lucidez creativa no tiene ningún altibajo en el largo espacio destinado a esta pieza. La serenidad etérea de los últimos momentos se condice perfectamente con ‘Vesenevi’, la cósmica cantata de menos de tres minutos con que se cierra el disco.
Aunque en comparación “Sinkronos” no me llega a impresionar tanto como en su momento lo hizo “Fantasia en Concierto”, aprecio sus cualidades artísticas con suficiente convicción para advertir que confirma a Hyacintus como un importante
creador de rock sinfónico para nuestros tiempos. Los temas 2, 4, 8 y 9 son mis favoritos de “Sinkronos”.
Cesar Mendoza
Mission Dadá
Hipno Délfico
Ritual Lunar (El Fraude)
6. Sueño 1 [Shakespeare! (Ethical) / Explore (Plan SEA) / Implacable Kronos]
7-9. Sueño 2 [Asoma (SErA) / Heart Place / Mission Recordada] 10. Vesenevi
Jacinto Miguel Corral: guitarras eléctrica, clásica y acústica, teclados, bajo,
voz, instrumentos acústicos
Colaboradores - José Luis Hernández (batería), Daniel Sánchez (Stick, bajo), Víctor Sánchez (percusión), Ada Guitart (voz), Ana Tirigall (voz), Ed Martínez (batería)
“Sinkronos” es la tercera obra discográfica de Hyacintus, el talentoso multi-instrumentista argentino del cual no sabíamos mucho desde los días de “Fantasia en Concierto”, su excelente segundo disco que supuso un pico dentro del rock sinfónico latinoamericano en el nuevo milenio. La línea de trabajo aquí plasmada se aparta un poco de los climas preferentemente épicos a los cuales el mencionado segundo disco había dedicado un importante espacio, pero recoge del mismo un gusto por ambientes sonoros modernos dentro del estándar del rock progresivo. Como siempre, “Sinkronos” es un disco conceptual centrado en la misión que recibe un individuo, la misma que solo puede cumplir si deja que la dicha sea su guía: tenemos aquí una estructura narrativa subyacente de manera similar a como operaba el repertorio del disco debut “Elydian”.
El disco comienza abriendo las puertas de la extroversión con un pegadizo ritmo
de rock blueseado, sobre el cual se explayan los guitarreos y las orquestaciones de teclado con un claro acento estilizado: ‘Mission Dadá’ está diseñado para llamar la atención de manera directa sin apelar a lo pomposo. ‘Hipno Délfico’ torna hacia un aura ensoñadora y evocativa, marcada principalmente por las elegantes bases de piano y guitarra acústica en triangulación con las coloridas texturas de teclado: aquí hallamos un híbrido entre Wakeman y el Vangelis contemporáneo. ‘Ritual Lunar (El Fraude)’ retoma el
ambiente solemne de la pieza precedente y lo lleva a una dimensión más marchosa, similar a la faceta más fastuosa de Alan Parsons Project. Personalmente, hubiese preferido que la producción de sonido y los arreglos instrumentales hubiesen creado una sonoridad global más llena, pero definitivamente no cabe duda de que se trata de una composición bien lograda: el uso de una guitarra acústica a lo bosanova en la coda es un simpático adorno
inesperado. Después siguen dos series de tres temas cada una, ‘Sueño 1’ y ‘Sueño 2’. La primera de estas trilogías comienza con un ejercicio de rock sinfónico más sólido en comparación con ‘Ritual Lunar’: en ‘Shakespeare! (Ethical)’ hay una bien lograda integración de compases étnicos en la sección rítmica. ‘Explore (Plan SEA)’ tiene una solemnidad conmovedora a pesar de su sobriedad: los evocativos fraseos de piano y las dinámicas cortinas de teclado apelan, me parece, a una sensación de soledad. ‘Implacable Kronos’ se explaya en el dinamismo rockero, instaurando un ambiente de rock duro melódico con varios ornamentos de raigambre orquestal. A medida que nos acercamos al final de los 6 ½ minutos que dura esta pieza, las cosas se ponen gradualmente más pomposas, antes de que llegue una hermosa coda de guitarra clásica de tonalidades barrocas.
’Sueño 2’ comienza con un ‘Asoma (SErA)’ que recoge mucho de las cadencias y ambientes ya plasmados en el tema de entrada y ‘Shakespeare’, aunque se reconoce un tenor sinfónico más pronunciado. ‘Heart Place’ establece una envoltura pomposa para los retazos melancólicos dibujados por la guitarra clásica y las diversas capas armónicas de teclado. La naturaleza envolvente de la pieza la hace sobresalir dentro del repertorio. También sobresale ‘Mission Recordada’, primeramente por ser la pieza más extensa con sus 10 minutos de duración, pero también por su inteligente armazón de motivos y ambientes sinfónicos. El despliegue de lucidez creativa no tiene ningún altibajo en el largo espacio destinado a esta pieza. La serenidad etérea de los últimos momentos se condice perfectamente con ‘Vesenevi’, la cósmica cantata de menos de tres minutos con que se cierra el disco.
Aunque en comparación “Sinkronos” no me llega a impresionar tanto como en su momento lo hizo “Fantasia en Concierto”, aprecio sus cualidades artísticas con suficiente convicción para advertir que confirma a Hyacintus como un importante
creador de rock sinfónico para nuestros tiempos. Los temas 2, 4, 8 y 9 son mis favoritos de “Sinkronos”.
Cesar Mendoza
martes, 17 de junio de 2008
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