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The repertoire on this album is rife with symbolism and metaphor that further teases out concepts of impermanence, migration, and the transient nature of musical language. From the wordless vocalises of Takemitsu’s Windhorse depicting Tibetan nomads, to the 12th century polyphony of the Codex Calixtinus sung by pilgrims traveling along the Camino de Santiago, to the dramatic shifts of polyphonic style seen in the 15th century motets of Du Fay and the Turin Manuscript, to Peter Gilbert’s contemporary meditation on the phases of the moon—temporality is a common and unmistakable thread. And I suppose if one accepts impermanence fully, we might begin to see it in all of our work as artists.
Based in Boston, Lorelei Ensemble frequently joins forces with local artistic organizations to the enrich the city’s vibrant music scene. Collaborating ensembles include the Boston Symphony Orchestra, Tanglewood Music Center, A Far Cry, Boston Modern Orchestra Project, Odyssey Opera, Grand Harmonie, Boston Percussion Group, and Juventas New Music. In addition to its work in and around Boston, Lorelei maintains a national touring schedule, enjoying performances on numerous concert series, venues, and institutions across the country. Appearances include Carnegie Hall, the Metropolitan Art Museum, Isabella Stewart Gardner Museum, Tanglewood Festival of Contemporary Music, Trinity Wall, Five Boroughs Music Festival, Rockport Chamber Music, Chamber Music Columbus, Duke Performances, Schubert Club of St. Paul, Louisville Chamber Music Series, Monadnock Music Festival, Kent Hall Masters Series, and guest appearances at state and national conferences.