It was improvisation and gradually I find out how to play independently from the original, how to use the material completely by myself. It was best to me and I used to not to play from the notes sheets of music.
It was better to play from my mind. Album have many child diseases, there are many long solos that makes the songs not comprehensive. That is a result of gig playing where we could afford that. Konvergencie from According to my opinion Konvergencie is best album of CM. For sides of this double album are for sides of the same coin. These were the roads that we wanted to make as CM. It is variant album with child choir, transformation of classic pattern, songs and also electronic improvisation music.
Name of the album liberates from clear-cut image and predicates that we wanted to interpret our searching and our feeling from it. It is about approximate to the ideal that you have in your mind but when you think you can reach it you find out that it is still so far away. There are some conceptions of crossings the genres that stand side by side to one imaginary spot. We were recording the album in Experimental electroacoustic studio with a small public.
In Euforia I tried how far can I go with the communication with the instrument. I tried limits of Hammond and piano. Continuo from Bad. Las years of Collegium were in token of comebacks. We thought that we meet and everything will be good but each of us at that time was somewhere else in our ideas.
Every band has better and worse moments. These comebacks are sometimes successful and sometimes not. On this album you can see that long solos are far away from that times feeling.
This type of music had its limits and had to end somewhere. On A Ona from Very bad album. Except the song Amata nobis it has nothing in common with Collegium Musicum.
Divergencie from When we recorded this album it was extremely hot summer and I started to panic. I composed Christmas suite and I dint know if to buy a Christmas tree to get in the right mood. Musica Concertante is five parts Neoclassicist concert with artificial structure and unorthodox order.
Interludes show my movement to improvised music that I play from this album to this day. Forth part of album is song based. Divergencie can be understood as more points of view on the same object. On all of the four sides is me but from another angle. How was the distribution of your albums to the west and to the east of the iron curtain during those days?
To be honest, I have no idea about that. I know that nowadays there are on-line shops and likely they are ordering something, because I am getting feed-backs from distant lands like Japan, the USA or Brazil. Just out of curiosity. You have been compared a lot to the great western musicians like Rick Wakeman and in particular; Keith Emerson. Have you had any personal contacts with them sin ce the fall of the iron curtain?
Please tell us more about this album and if you can; the two above mentioned live albums too. After Konvergence it is a step back. It is here where the end of Collegium in an original formation begins. You can feel the fatigue of constant playing between and we had concerts a year and also, it is all somehow exhibitionistic.
Even though they say, that this album is comparable with anything that was produced at this time in the sphere of proressive rock, I was forced to record it by the publisher. I had an enormous personal crisis related to alcoholism.
We were playing all the time. We played a lot in DDR, sometimes we had even three concerts a day. I was surrounded by young musicians, who gave me new energy. We recorded the album all at once like on a concert , we did only two or three corrections. Speak Memory is a record of a concert we played two years ago. In this time I began to concert again with my band.
The audience loves these comebacks, they are even forcing the bands to it. But for me the ilussion is a little bit false. It seems to me like if they were trying to buy a ticket back to their youth while experiencing a comeback of the band from the time of their adolescence.
The exception are those who visit our concerts because of Martin Valiora- our drummer, who is more than one generation younger than the rest of us. So, Speak Memory is about remembering old days. Currently unavailable. We don't know when or if this item will be back in stock. Image Unavailable Image not available for Colour:. Amazon Price. MP3 Download, 26 Oct "Please retry". Special offers and product promotions Amazon Business : For business-exclusive pricing, quantity discounts and downloadable VAT invoices.
Create a free account. Customer reviews. How are ratings calculated? Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. The long keyboard interlude not properly a solo is a little boring, but it's counterbalanced by the excellent final of the track which has a huge number of different signatures.
The last track, "Monumento" starts with a bass harping. I still hear Stravinskij Rites of Spring in the initial organ notes.
It's not a solo but his drums are really in evidence. AFter some minutes basically of drums and bass with little intervents from the keyboards a true drum solo starts. It's , a long drum solo can't be missed in a live album of this kind. As many other solos of this kind this is a bit too long and the coda too short. In brief, this album is very far from that masterpiece that's Konvergencie.
This album fits perfectly in the 3-stars definition, also because CM albums are usually not cheap. If you have some extra money to spend on this band, go for Konvergencie. I did a symphonics poll a little while back dealing with a few obscure records, that I myself had grown increasingly fond of, and in the midst of things our dear admin Alex was kind enough to let me know about this band - actually posting a track off of this live album.
Straight away I knew this was a record I'd love, and now I'm truly grateful for his recommendation, as it quite elegantly has smacked me upside the head and made me plunge straight back into the world of symphonic high towering music.
Good thing too, as I was getting just a wee bit mad from all the avant-guarde stuff roaming the airwaves. No thanks, I'd rather 42 and shave my Johnny-boy As many here have mentioned, this band work within the Emerson started tradition with keyboards a- blazing and maniacal drums tip toeing at their side like a strange butcher-ballerina in big boots. Personally I find Collegium Musicum to have much more in common with Triumvirat, mostly basing this quaint observation with the amount of uninterrupted melodies on offer here.
ELP were masters at changing pace and course in the middle of the track - running quickly in the other direction, whereas Triumvirat stayed within the melodic core of the tune. Maybe I've traded in my brain for a box of cowboys, but that's essentially what I get. Collegium Musicum build on the Triumvirat heritage, although the individual phrasings of the players here sound altogether differently - and does quite clearly emanate a certain uniqueness and flair.
The name itself sounds like music college to me, and whether that's true, I leave entirely up to the sonic history buffs out there with an affinity for the Slovakian lingo, but to this Dane, that rather dubious translation fits the band like a latex glove-sandal.
It could very easily be a couple of music students, who in their spare time away from all the books, played homage to that ever so sprawling and colourful world of progressive rock happening all over the world.
Either way, these are some damn talented musicians! What firstly separates this album from either of the aforementioned acts, is the usage of guitar.
Though quite bluesy at times, it flows very elegantly along to the music at hand - adding depth and that fluid texture you sometimes get from a buttery stratocaster melting the individual notes like a sizzling hot pan. Rather peculiarly, the guitar also highlights the instruments around it, and the ferociousness of the classical rock styled piano suddenly becomes slightly more palatable and creamy, - while the drums just get empowered and sound all the more rampaging like an orchestrated Pamplonian bull-run.
As I mentioned earlier, there is not that much musically tying this band together with ELP, but in their approach - and the way they grab on to classical inspirations does echo Emerson and co. On here the band infuse the music with different twists and turns - adding several original b-roads together with a rather successful rock umphh.
The track Preludium in C Dur a cast z baletu Romeo a Julia is an adaptation of Russian composer Prokofiev albeit with a hefty dosage of salt and pepper, and some of that zest I mentioned before. Now does that remind you of any other band in particular? This is symphonic prog rock at its finest, and I recommend anybody out there to have a closer listen to this formidable act. Nowhere else can you find these compositions within the bands' discography, and I rather like the live power of the music.
It feels hard hitting, yet it can also be incredibly precise and gentle like a pirouetting scalpel. Had it not been for the far too meandering drum-solo features cluttering up the first side here, this album might have received the full 5 stars. This eighty minutes long album is really four parts collected onto one single album. Or a double, even a triple LP back in Marian Varga is a classical musician - and composer - who also dabbled into ELP like symphonic prog and fusion.
To Marian Varga's credit, most of the classical music is proper dense, not easy accessible classical music. This is how classical music should be. The pop and jazz stuff is a bit of a downer compared to the classical music stuff.
Despite of this being a very varied album, the concept actually work to a large degree. The quality of the music is not that great though. The classical music too orchestral and we hear not enough of Marian Varga himself; one of the greatest musicians of our time. The added value here from the usual keyboard driven mix of classical music Johan Sebastian Bach and rock is the addition of some great electric guitar solos and some jazz elements.
Quality wise, Collegium Musicum does not have the great songs ELP had and that is a problem with them and their albums. So also with this live effort. There are some great stuff here, but most of the live effort is based on the technicalities of Marian Varga's excellent finger works and not so much on creating good melodies.
This is another classic case of great musicians forgetting what music is all about. I admire Marion Varga, but this offering is lacking any really great tune and is therefore falling by the wayside.pustiť hudbu z Divergencie, kúpte si album na CD, a viac z našeho vydavateľstva o Collegium Musicum: Divergencie - Dvojalbum skupiny Collegium Musicum z r. .