a magnificent sound, traveling through folk, classical and world music in a way that delights, relaxes and hypnotizes us throughout its length. Dominated by the harp of Ursula Burns, this album is defined as the offer of someone who dedicated three decades of exploration to develop a sovereign approach to the harp, presenting us exquisite riffs, beautiful melodies and a musicality difficult to overcome, and can be considered as a timeless masterpiece contemporary music.
Obrigada, Linna! Read the original “Os Garotos de Liverpool” (“The Liverpool Boys”) review here: https://www.osgarotosdeliverpool.com.br/2024/11/ursula-burns-une-o-folk-e-o-classico-no.html
Directly from Belfast, Northern Ireland, this is a project that appears here with a work revealed on streaming platforms recently and that we will talk more about below. Released during early October, "The Secret Melodies of Trees" is an album that delivers to listeners 11 tracks, 37 minutes, and a magnificent sound, travelling through folk, classical and world music in a way that delights, relaxes and hypnotises us throughout its length.
Dominated by the harp of Ursula Burns, this album is defined as the offering of someone who dedicated three decades of exploration to develop a sovereign approach to the harp, presenting us exquisite riffs, beautiful melodies and a musicality difficult to surpass, and can be considered a timeless masterpiece of contemporary music.
Made in the first months of 2024 amid a great period of creativity, the artist recorded eight tracks in a single day and said this about the project in an official press release: “Over the years, I did everything to break the stereotypical image of the harp. Through composition and performance. And it occurred to me that I had never really made a harp album.” With some of the songs connecting with her trip to Paraguay, El Jardin de Eliza Lynch is a vision of Asuncion and her stay at the Gran Hotel del Paraguay, for example, while Dreaming in Violet as Jacaranda Petals Fall is an image of the rich foliage that surrounded her. Among the theme we also have the trees, with the artist thinking of a fascinating landscape and a scene near her old school in West Belfast to create something challenging, either because of the theme or even how to do it and about it, she comments: “I moved away from my technique because my style is all notes, all the time. But Where the Sycamore Used to Be is just the melody. I needed every ounce of discipline in my body not to embellish it and make it big.”
Commentaires