|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
review by Bill Binkelman Simply put, this is exquisite music, filled with grace, beauty, and a timeless quality that reached deep into my soul and touched me from the first playing (and every other one after that). Áine Minogue is joined by a formidable company of performers (including Eugene Friesen on cello, Joanie Madden on whistles, Sheldon Mirowitz on guitars, Tom Hill on clarinet and Randy Roos on "Soundscapes") but it's her sublime and achingly beautiful harp playing that unifies these eleven Irish/Celtic instrumentals. If you consider yourself a fan of this type of music, but sadly thought this genre was played out, I highly recommend you latch onto this CD in a hurry. I would imagine you will be as moved and impressed as I was and continue to be. If I understand the liner notes correctly, these are all non-originals, being interpretations of traditional Irish tunes, some going quite far back, such as the closing track "Limerick's Lamentation" which dates back to the 1600s. There are also some poems that go along with the songs, and these are included as part of the liner notes (however, for the record, this is an all-instrumental recording). The overall feeling of the CD is one of reflection or even sadness, and the more somber and/or gentle emotions. Nothing here will set your pulse racing. More likely, the music will speak in a muted whisper to the quiet heart or the darkened soul. However, even at its most sorrowful, the music itself (and Minogue's playing, especially) is so beautiful to hear that I never actually felt "sad" per se. Instead, I found myself soothed (which, given the recording's title, is an appropriate reaction it would seem). Detailing various tracks seems pointless, because each song has much to offer and make it worthwhile. However, Eugene Friesen's cello on "Were You at the Rock" is a marvel, opening with his solo work over some rolling ominous textures before Minogue's deft fingers add their haunting magic played across the harp's strings. Likewise, Tom Hill's clarinet on "At the Edge of the White Rock" is soulful, serene and blends perfectly with subtle synthesizer strings (from Brad Hatfield) and Minogue's harp, played ultra-delicately. If you're fond of the music on Bill Douglas's earlier neo-Celtic recordings on Hearts of Space, this song will enthrall you. The absence of any percussion whatsoever is a solid indication how low-key and peaceful this recording is, and it is that - and more. Seldom do I hear music this calming. If you can resist the siren's song call of Joanie Madden's whistle on "Limerick's Lamentation" you have a soul of stone, my friend. However, as I wrote above, this is Áine Minogue's show and deservedly so; she is an unbelievable talent on her instrument, almost becoming one with it seems. She has at least five other recordings in her discography and I only wish I had the time to listen to them all. Celtic Meditation Music is that rarest of entities - a literally perfect recording. Engineering, graphics, performances, all of it is masterful. I am proud and privileged to grant this CD my highest recommendation. |
|