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Reviews:
Sagittarius | Songs From The Ivory Tower
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From Hierophant Nox: (by Ellen Simpson)
Sagittarius began as the brainchild of one Cornelius Waldner, a German musician whose startlingly poignant and affecting creative gift lies in a blending of neo-folk and neo-classical elements. Where friction is generated between those two approaches, Waldner incorporates it, exploits its potential, and makes it his own, resulting in a sound that has a robust coherence and poised, crystal-clear vision. “Songs from the Ivory Tower”, Saggitarius’s second full-length, brings in co-conspirators of exceedingly fine pedigree, including Von Thronstahl’s Marcel P, now a full-time member of the band. No surprise, then, that when vision and skill collide, something precious sparks to life.
Wistful, stately piano movements which are capable of many moods – some dolorous, some auspicious- form the foundation of Sagittarius’s sound, accompanied by clean guitars, intimate yet authoritative vocals, flutes and occasionally the neck-hair-raising low lament of the cello. The melodies are beautifully constructed, designed so that they seem so simple yet at the same time so far beyond what the listener could dream of creating. “Die nächtlichen Geschicke” has a warm, fairytale folkiness to it, while “Das Leid” and “Der gute Kamerad” feel like traditional songs, the latter having a proud, national feel. In contrast, “Menuet von Johann Krieger” sees Sagittarius explore the full dignity and grandeur of the European classical past, whilst “Nova Apocalypsis” moves with a ponderous gait.
A variety of different vocal approaches exist on “Songs from the Ivory Tower”, due to Waldner’s willingness to vacate the microphone on behalf of a small galaxy of guest singers. His own voice, pitched into a cadence which is part speech, part song, is clear and quietly strong. Herr Twiggs and Marcel P have deeper, more resonating voices, whilst Troy Southgate (of Seelenlicht fame) moves in higher keys and provides a contrast on tracks such as “Der gute Kamerad”. In all, though, just as it is impossible to see the seams between classical and folk, the different voices do not give a patchwork effect, but seem to fit together most beautifully.
“Songs from the Ivory Tower” captures mood perfectly, but there are no simple emotions, no pure sadness or pure grandiose coolness. The cover of Forthcoming Fire’s “Europa Calling” exhibits the most passion, but the potential for outburst, for a clarion call, for an unbearable, classical climax, seems ever-present in Sagittarius’s own material. This potential mixed with the kind of uncanny sensibilities belonging to minds who can summon up the story of a boy who “lost his way in the woods of fey” (“The Song”) is nothing short of magical; this is an album in whose isolated and privileged halls you will want to lose yourself over and over again. |
From Zero Tolerance:
(by Geoff Birchenall)
Songs From The Ivory Tower is a title that
epitomises the spirit and essence of neofolk music. Sagittarius are ostensibly
a German one-man band, yet an elite cast of guest musicians, including
Marcel P. of Von Thronstahl and Troy Southgate of Seelenlicht, offer splendid
accompaniments to main instigator Cornelius Waldner. The songs represent
oft-doleful odes to a Europe long lost, taking the form of striking piano
pieces at times rivalling the intensity of Diamanda Galas augmented with
delicately-positioned string instruments. A triumphant highlight is the
Forthcoming Fire anthem 'Europa Calling'. Sagittarius' lyrics are derived
from German poets of yore and are half-sung / half-spoken in a tar-black
tone of oceanic depth. A sorrowful sixth track entitled 'Trunkene Flut'
is a highlight and precedes three hopeful pieces in which a springtime
levity is introduced, with the charming wood flute and acoustic guitar
carrying the spirit of a medieval English country garden, before the mood
metamorphoses once more and one's heartstrings are pulled in an altogether
darker direction by Waldner, puppet-master extraordinare. Don't you hear
Europa calling? For him who leads the children home... (4.5/5) |
From Side-Line:
(by ED)
After self-released albums (cf. “Die Grosse
Marina” & “Fragmente”) Sagittarius got the opportunity
to join the famous Cold Spring Records-Label to launch his new album.
This official debut by Cornelius Waldner took him a couple of years to
achieve, but the result is worthy of examination. We’re entering
a mainly neo-classical music universe where the piano takes an important
part. The majority of the songs are based on German poems adding an artistic
bonus to the work of Sagittarius. Several famous guest musicians like
Marcel P. (Von Thronstahl), Herr Twiggs (Kammer Sieben) or yet Troy Southgate
(H.E.R.R./Seelenlicht) to name the most famous ones contributed to this
opus. All the poems are German and have been sung in a spoken, reciting
way. Next to the main neo-classical style “Songs From The Ivory
Tower” can also guides the listener throughout more medieval and
troubadour-like parts (cf. “Der Gute Kamerad”) and other neo-folk
passages (cf. “Nihil Arisen”. A song like “Trunkene
Flut” even evokes some old Goethes Erben memories for the kind of
gothic touch in the piano play. One of the absolute high lights emerges
at the end of the album while adding a kind of cinematographic vision
to the work of Sagittarius. This piece entitled “In Signo Solis”
is mainly written in piano and remains an instrumental song. The album
is quite diversified while certain feelings of sadness remain quite constant.
There’s no doubt about it, Sagittarius will please the lovers of
neo-classical and neo-folk music!
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From Kogaionon:
After being part of the Black Metal band HAILSTORM for more than 10 years,
Cornelius Waldner decided to explore his Neo – Classical side as
well.
After its little known debut, SAGITTARIUS now becomes visible
through a special NeoFolk album, full of poetical echoes, of remarkable
instruments, somewhere between the limits of melancholic and nostalgic,
with a piano that is quite serene but as well as that, one that leaves
a strong mark on the album in general, and the reciting voices, in particular.
It must be mentioned that the guests are carefully chosen,
every single one of them being allowed the opportunity of putting forward
their personal know-how or ability, their artistic inputs being easily
recognisable. And so, we meet: Damiano Mercuri (Rose Rovine E Amanti),
Troy Southgate (H.E.R.R/SEELENLICHT), Philipp Jonas (SECRETS OF THE MOON),
Herr Twiggs (KAMMER SIEBEN) or Marcel P. (VON THRONSTAHL).
The least bit dynamic, more likely meditative and full of
a poetic dimension than anything else, SAGITTARIUS unveils through these
15 tracks a pretty damn elegant universe, slightly elitist and with an
elevated aura that could perhaps bother or even bore the superficial listener.
I personally find it difficult to understand this band from
a conceptual point of view, as a great deal of their poems are recited
(rather than sang) in German, but also due to the fact that the sounds
aura is impressive. “Europa Calling” and “The Song”
are two simply marvellous tracks, where, with or without the flute, the
sound leaves you breathless.
I noticed on MySpace that Cornelius’s project has now
transformed into a trio, another ex. Black metal player, Dimo Dimov (SVARROGH)
being welcomed alongside Marcel P. I am not sure how Dark can this band
be considered but no doubt that the word interesting is the least to be
said!
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From Judas
Kiss: (by Lee Powell)
The name Sagittarius may not mean too much to
you at the minute, but for those of you with an interest in intelligently
produced European neo-classical music, this is all about to change with
the release of their second album, and their first on Cold Spring Records,
the wonderfully passionate and enticing ‘Songs From The Ivory Tower’.
Sagittarius is the solo work of Cornelius Waldner who provides
piano, flute and vocals throughout the album. However, on this occasion
he is joined by a merry band of who’s who in the latest wave of
neo-classical, martial and neo-folk groups inhabiting today’s scene.
And what a cast of supporting musicians it is; from Von Thronstahl and
Forthcoming Fire there is Marcel P., from H.E.R.R. there is Troy Southgate,
who is accompanied by his Seelenlicht bandmate and Kammer Sieben member
Herr Twiggs, and from Rose Rovine E Amanti there is Damiano Mercuri, an
amalgamation of talent which is bound to produce waves of interest throughout
European neo-folk and associated genres. That said, it has to be noted
that although Cornelius is joined by such an impressive band of musicians,
this group plays a supporting role, whilst he takes the centre stage and
propels Sagittarius forth.
Based on a series of poems by poems by Stefan George, Bernhard
von Uxkull-Gyllenband, Gottfried Benn, Ludwig Uhland and Timo Kölling,
‘Songs…’ utilises the central structure of piano arrangements
and vocals to deliver its own interpretations of these literary works.
With such a prominent use of piano as the main backing for
the album, it takes on a beautifully sedate and dreamy presence, heightened
by the strongly accented male vocals and stirringly seductive cello and
flute accompaniments that from time to time act as wonderfully touching
partners.
The music itself has an almost timeless quality to it, which
is amplified by the almost simplistic structure it takes. However, through
the constant use of piano and minimal other instruments, Sagittarius produce
a truly sedate and captivating vortex of emotion and bittersweet qualities
which flows dreamlike from the speakers, framing the predominately German
vocals perfectly.
The mood and presence of the overall sound of ‘Songs….’
has an effortless charm and warmth. It’s easy to digest, and whilst
doing so the stirringly alluring music which it contains is a welcoming
joy to indulge in.
Even with the use of German vocals, which may well be lost
on the majority of listeners, Cornelius and co. still manage to produces
an overall presence and sound that is a sheer joy to experience. It warms
the soul and touches the senses whilst it gently courts its audience with
its seductively passionate charms.
Occasionally incorporating a neo-folk aesthetic and feel through
the use of flute, especially on the likes of ‘Das Lied’ and
‘Sternwandel V’, the musical structure produces an interesting
sound and quality which Sagittarius delivers with great flair and command,
whilst managing to keep the flow of the album held together brilliantly.
There is also an interpretation of ‘Europa Calling’,
Forthcoming Fire’s stirring call to arms for European Volk. Again,
Sagittarius work their own unique magic on the track, making it one of
stirring power whilst still managing to keep a delicate charm and sedate
musical structure and delivery throughout, which makes this track one
of the album’s many highlights.
A number of purely instrumental tracks that from time to time
rise to the forefront, demonstrating the skill in musical composition
that Cornelius possesses, and they are as welcomingly received as the
more conventional songs here.
Drawing a close to the proceedings is the beautifully sedate
and passionately delivered ‘The Song’, which again amalgamates
together both a timeless classical feel with a wave of neo-folk aesthetics,
exemplifying the overall feel of the album wonderfully. It’s a perfectly
fitting curtain call and is guaranteed to leave you wanting more.
With ‘Songs From The Ivory Tower’ being such a
solidly produced and delivered album, it will no doubt help catapult Sagittarius
into the very heart of the neo-folk and neo-classical genres, where they
so richly deserve to sit, whilst they are lovingly revered by those who
have a love and admiration of this style of music.
‘Songs…’ is a brilliantly captivating album
which yet again shows the diverse nature of Cold Spring Records’
catalogue of late, and which helps cement their canon of releases as some
of the most impressive and forward-thinking releases to have graced the
wonderfully stimulating world of post-industrial music and the huge range
of styles, genres and ideas that this expansive genre of music covers. |
From Ablaze:
Ich selbst bin bewusst wenig bewandert auf dem
Gebiet der Neoklassik ˆ auch in Verbindung mit schwermetallischen
Klängen ist dieses Genre ein weisser Fleck auf der Landkarte für
mich. Völlig ohne harte Töne kommen Cornelius Mikael Waldner
und sein Projekt SAGITTARIUS auf der aktuellen Scheibe ≥Songs From
The Ivory Tower„ aus ˆ hier zeigt sich Waldner nämlich
gänzlich gegenläufig zu seinen sonstigen und bisherigen Betätigungsfeldern
HAILSTORM, WARLOGHE und SECRETS OF THE MOON und rudert mit gemächlichen,
sanften Kompositionen auf dem seichten See moderner Klassik. Im Grunde
bestehen die fünfzehn Singspiele allesamt lediglich aus mal schwermütigen,
mal heiteren Klavierklängen und einer hellen Singstimme, die zwar
nicht an die Extraklasse von Operntenören heranreicht, für meine
Ohren aber sicher und lupenrein eingeträllert worden ist. Auf dieses
Fundament werden nach und nach einzelne Bausteine gesetzt ˆ synthetisches
Tastenspiel ist da zu vernehmen, ausserdem des öfteren eine Flöte
und auch akustische Gitarrenparts meine ich mir eingebildet zu haben.
Angesichts dieser doch recht spartanischen Instrumentierung ist es sehr
erfreulich, dass Waldner sich als grosses Talent erweist, der scheinbar
eine weiterführende klassische Ausbildung genossen zu haben scheint,
denn hätte sich ein Künstler geringerer Qualität an ≥Songs
From The Ivory Tower„ versucht, wäre die Hörerschaft wohl
laufen gegangen ˆ wie schnell ist schliesslich eine Flötenspur
verpfuscht oder klarer Gesang auf der schiefen Bahn unterwegs. Eingänglich
wird über die Verse von Dichtern wie Gottfried Benn und Stefan George
doziert, begleitet von den erläuterten leisen Tönen ˆ das
war‚s; mehr verbirgt sich nicht hinter dem Album. Mehr muss es für
echte Freunde dieser Musik aber auch gar nicht sein, denn mag man der
Neoklassik sein Ohr leihen, so bekommt man von SAGITTARIUS ein Festmahl
aufgetischt. |
From Darkroom:
Presentato all'uscita come un disco relativo al
panorama neofolk, forse in virtù dei collaboratori che vi prendono
parte, "Songs From The Ivory Tower" appare essere tutt'altro
già ad un primo ascolto. Innanzitutto è il prodotto di un
unico artista, il tedesco Cornelius Waldner, ex black-metaller, che incentra
tutti i componimenti sul piano e sulla voce, concedendosi anche sporadiche
esecuzioni al flauto. Reduce da un esordio non recentissimo, risalente
al 2003 con l'LP "Die Grosse Marina" (disponibile anche in formato
mp3 nel sito dell'artista), Sagittarius balza alle luci della ribalta
con questo album, assai vicino per concezione, suoni e struttura al discusso
"Soft Black Stars" dei Current 93, e non è un caso che
nel 2005 Cornelius abbia firmato una cover di "Antichrist And Bar
Codes", pezzo tratto proprio da quell'album dei Current. Ma "Songs
From The Ivory Tower", oltre a godere di quel minimalsimo morbido
e neoclassico, è arricchito dalle partecipazioni illustri di Marcel
P. (già in Die Weisse Rose), Damiano Mercuri (mastermind di Rose,
Rovine & Amanti), Troy Southgate, Herr Twiggs dei Kammer Sieben e
Philipp Jonas, autori che riescono, tramite voce, violini e chitarre acustiche,
a dare più corpo a pezzi che non avrebbero comunque bisogno di
nulla, garantendo già di per sé un'ottima soavità.
In particolare gli inserimenti di chitarra di Damiano forniscono suoni
diversi che si sposano perfettamente alla pacatezza del resto del disco
senza, insomma, cadere in abusati stilemi neofolk. Il taglio breve dei
brani va a costituire un piccolo mosaico, commento in tono minore di un
passato che rivive nei testi di molti poeti tedeschi e culmina nella cover
dei Forthcoming Fire "Europa Calling!", forse l'unico pezzo
dal sapore un po' diverso, prossimo agli ultimi lavori, guarda caso, di
Von Thronstahl. "Songs From The Ivory Tower" potrebbe apparire
come la nostalgica versione mitteleuropea di "Soft Black Stars",
ma al di là di qualsiasi paragone rimane un album ammaliante e
decisamente riuscito. |
From Obliveon:
(by MK)
Lange hat es gedauert bis Sagittarius nach der
„Grossen Marina“, das seinerzeit noch als Vinyl erschien,
mit „Songs From The Ivory Tower“ ihr neues Werk vorlegen.
Doch eins kann man vorwegnehmen, die Wartezeit hat sich mehr als gelohnt.
In Zusammenarbeit mit einer ganzen Reihe von Gastmusikern, darunter Herr
Twiggs (Kammer Sieben), Troy Southgate (H.E.R.R., Seelenlicht), Damiano
Mercuri (Rose Romine e Avanti), Marcel P., Dimo Dimov (Svarrogh) und Philipp
Jonas (Secrets of the Moon) entstand ein wahrhaft wundervolles Album voller
vertonter Gedichte, bei dem das Klavier Cornelius Waldners die musikalische
und durchweg melancholische Basis bildet. Gedichte von Ludwig Uhland,
Gottfried Benn, Stefan George oder Timo Kölling bilden den lyrischen
Rahmen und in der Kombination dieser beiden künstlerischen Elemente
entstehen fünfzehn getragene und nachdenklich stimmende Lieder, die
in dieser Form ganz sicher einmalig sind. Die Handschrift der Gastmusiker
ist dabei stets erkennbar und so sind die Beiträge von Herrn Twiggs
und vor allem Troy Southgate, der den „Guten Kamerad“ von
Ludwig Uhland, übrigens in Deutsch gesungen, neben „Nihil Arisen“,
„Trunkene Flut“ und der Coverversion von Forthcoming Fires
„Europa Calling“ die Höhepunkte eines an herausragenden
Liedern gewiss nicht armen Werkes. „Songs From The Ivory Tower“
ist in der Summe ein sehr intensives und vor allem sehr intimes Album,
das aufgrund seiner zeitlosen Schlichtheit und der wunderschönen
Arrangements immer wieder seinen Weg in den CD-Player finden wird und
einfach nur begeistert. (10/10) |
From Compulsion:
(by Tony Dickie)
Sagittarius was formed by Cornelius Waldner, a
member of the black metal group Hailstorm, to provide an outlet for classical
and soundscapes. Songs From The Ivory Tower is their second full-length
release, following Die Große Marina a short-run vinyl LP based on
Ernst Jünger´s novel "On The Marblecliffs". Songs
From The Ivory Tower continues the fascination with German literature
with the majority of tracks based on poems by Stefan George, Bernhard
von Uxkull-Gyllenband, Gottfried Benn, Ludwig Uhland and Timo Kölling.
This time, though, Cornelius Waldner has enlisted the assistance of numerous
musicians including guest contributions by Marcel P. (Von Thronstahl),
Herr Twiggs (Kammer Sieben), Damiano Mercuri (Rose Rovine E Amanti), Troy
Southgate (H.E.R.R. / Seelenlicht) and Philipp Jonas (Secrets Of The Moon).
Songs From The Ivory Tower largely revolves around Waldner's
sparse piano arrangements with their elegant melodies. It's a starkness
befitting the nostalgic and melancholic atmosphere that Songs From...
exudes. Aside from the opening 'Nihil Arsen' Corenlius Waldner's solo
tracks are delivered in his calm, measured tones. Only on 'Der Sommer,
Der Die Erntezeit Gekront' does he furnish the tracks with a more commanding,
dramatic vocal performance. The deep melodic tones of Herr Twiggs that
feature on 'An Des Meeres Strand' and 'Sternwandel V' cover similar territory,
assisted with cello swells on the former and flute melodies on the latter.
Much of Songs From... shares an affinity with Current Ninety Three's Soft
Black Stars its elegant piano scores conjuring up a parlour room recital.
It's largely the result of the additional contributors that flesh out
the arrangements lending the music an evocative air and a folk sensibility
to some of the tracks.
'Das Lied', based on the Stefan George poem, is a quaint ballad
with lilting flute melody and a monotone Marcel P vocal, reprised as a
bonus track under the title 'The Song' with an effective speak-song vocal
from Troy Southgate. 'Der Gute Kamerad' is an elegant folk chamber track
with the vocals of Troy Southgate and the pristine acoustic guitar of
Damiano Mercuri. Sagittarius execute an exemplary take on the Forthcoming
Fire / Von Thronstahl landmark song, 'Europa Calling', drenched in Damiano
Mercuri's yearning, longing voice on this acoustic and piano based rendition.
Cornelius Waldner foregoes the bombast of death metal for
a suite of songs that given their intimacy are just as powerful. Songs
From... touches upon familiar aspects of the neo-folk and neo-classical
scenes and it's performed consistently with musicians drawn from the close
knit Cold Spring community ensuring that it arrives fully formed just
waiting to reach out to those with an interest in the above |
From Gothtronic:
(by TekNoir)
Sagittarius is a neofolk / neoclassical project
of the German Cornelius Waldner. His roots are in the extreme metal department
since he was the frontman of the symphonic blackmetal band Hailstorm,
but with Sagittarius Cornelius addresses his love for the first league
of British neofolk bands from the 90s around Current 93 and Death in June.
This Cornelius combines with tranquil neoclassical compositions with lyrics
recited and sung in English as well as in German. Cornelius plays the
piano by himself. Also the sounds of a flute, cello and acoustic guitar
can be recognised. This is mostly delivered by the guest contributions
from Marcel P. (Von Thronstahl / Forthcoming Fire) who plays the cello
and bass guitar on this album, Damiano Mercuri (Rose Rovine E Amanti)
who contributed guitars, as well as Philipp Jonas (Secrets of the Moon).
Furthermore guest vocals are present from comrades Marcel P. (Von Thronstahl),
Troy Southgate (H.E.R.R / Seelenlicht) and Herr Twigs (Kammer Sieben).
Songs from the Ivory Tower is a quiet and modest recording which features
melancholic songs with a focus on tradition and German poetry, containing
subtle instrumentation that hold the middle between traditional neofolk
and neoclassical chamber music. Really nice music to spend the Sunday
morning or the late evenings with. |
From Gothtronic:
(by TekNoir)
Sagittarius is a neofolk / neoclassical project
of the German Cornelius Waldner. His roots are in the extreme metal department
since he was the frontman of the symphonic blackmetal band Hailstorm,
but with Sagittarius Cornelius addresses his love for the first league
of British neofolk bands from the 90s around Current 93 and Death in June.
This Cornelius combines with tranquil neoclassical compositions with lyrics
recited and sung in English as well as in German. Cornelius plays the
piano by himself. Also the sounds of a flute, cello and acoustic guitar
can be recognised. This is mostly delivered by the guest contributions
from Marcel P. (Von Thronstahl / Forthcoming Fire) who plays the cello
and bass guitar on this album, Damiano Mercuri (Rose Rovine E Amanti)
who contributed guitars, as well as Philipp Jonas (Secrets of the Moon).
Furthermore guest vocals are present from comrades Marcel P. (Von Thronstahl),
Troy Southgate (H.E.R.R / Seelenlicht) and Herr Twigs (Kammer Sieben).
Songs from the Ivory Tower is a quiet and modest recording which features
melancholic songs with a focus on tradition and German poetry, containing
subtle instrumentation that hold the middle between traditional neofolk
and neoclassical chamber music. Really nice music to spend the Sunday
morning or the late evenings with. |
From Musique
Machine:
(by Roger Batty)
Songs From The Ivory Tower is a melancholy and
rich collection of piano based neo-classical tracks with some neo-folk
edgers. With most the spoken word/ semi-sung vocals mainly sang in German
and based around the works of several Germanic poets.
The project is fronted by Cornelius Michael Waldner who started
his musically life playing keyboards and singing in German black metal
band Hailstorm, here he handles vocals, the ever present piano and flute.
The rest of the project is made up of Marcel P(who also in Von Thronstahl
) who's sound engineering, plays cello, bass guitar & does live vocals
and Dimo Dimov who plays guitar. There’s also guest contributions
from the likes of Herr Twiggs (Kammer Sieben), Damiano Mercuri (Rose Rovine
E Amanti), Troy Southgate (H.E.R.R. / Seelenlicht) and Philipp Jonas (Secrets
Of The Moon). But really this Waldner’s baby as his piano and vocals
play the most prominent role in almost all of the 15 songs on offer here.
He’s an adequate enough and emotionally feeling piano player with
a keen melodic and dramatic ear. And while none of this is particularly
ground breaking or original, it has a got a great mix of elegance, atmosphere
and melancholy grace.
All in all a consistent and atmospheric collection of mainly
neo-classic piano based songs that are executed with real feeling, harmonic
flare and elegance, which will appeal to those who enjoy their neo-classical
fair fairly organic and sparse yet rich sounding and laced with Germanic
vocals. |
From Mentenebre:
(by Pedro Ortega)
Estoy muy de acuerdo con aquellos proyectos musicales
que sirven de cauce para dar a conocer obras literarias o poéticas
pasadas que, de alguna manera se quieren recuperar y poner en valor. Por
desgracia en nuestros días la lectura entre un público más
joven ha caído a un segundo plano, ocupando la música su
lugar. Es por esta razón que me gusta que esos trabajos literarios
se vean reconducidos a través del cauce de la música.
Y esto es lo que se ha propuesto Cornelius Waldner, alter
ego de Sagittarius. Y el medio que utiliza es, probablemente, el más
adecuado, ya que toda la composición se basa en piezas de piano
sobre las que se insertan los poemas, aunque siempre hay un instrumento
secundario que da calor a las mismas, así nos encontraremos la
flauta dulce, el chelo, la guitarra acústica y el bajo. Para conjugar
estos elementos en su segundo trabajo de estudio, Cornelius se ha rodeado
de prestigiosos músicos y vocalistas con cierta solera dentro de
la escena Neofolk, aunque ciertamente el proyecto Sagittarius no debería
enclavarse en esta corriente. Así tenemos al bueno de Damiano Mercuri
de Rose Rovine e Amanti, quien aporta la guitrra y la voz en uno de los
temas, Marcel P. de Von Thronstahl, quien acomete el chelo, el bajo y
pone también la voz en algunos temas, Troy Southgate de H.E.R.R.
y Seelenlicht, que aporta en su vertiente de vocalista, amén de
Philipp Jonas de Secrets of the Moon y Herr Twiggs de Kammer Sieben.
El contenido literario es una selección de poemas alemanes
desde finales del XVIII hasta el siglo XX, de autores como Stefan George
o Ludwig Uhland, por citar a dos de los más relevantes, a los que
se añaden algunos compuestos por el propio Cornelius Waldner y
el destacado 'Europa Calling', tema de Forthcoming Fire, incluido en la
parte final del CD como corolario de un álbum que da el contrapunto
europeísta a un recorrido poético de tinte germanista.
Quiero resaltar la capacidad compositiva de Cornelius Waldner
que logra ejecutar con su piano unas piezas de gran riqueza melódica,
marco ideal para la yuxtaposición de las letras y de los instrumentos
complementarios.
Entrando a valorar, yo me decanto más por aquellos
temas en los que el instrumento que acompaña al piano es el chelo
o la flauta dulce. Así destacaré 'Du Stehts am Alten Gartentor
und Schweigst', 'An Des Meeres Strand', 'Das Lied' o 'Menuet Von Johann
Kriegel'. Mención especial es el citado 'Europa Calling' que en
su versión Neoclasicista nos revela que es un tema grandioso, susceptible
de ser interpretado en otras formas musicales aparte de la Neofolk en
la que fue concebido. Este tema está brillantemente ejecutado en
la guitarra y el apartado vocal por Damiano Mercuri.
Se me ocurre poner este trabajo en relación con la
última etapa de Current 93, grupo que atravesó una etapa
Neofolk y que luego se reconvirtió al neoclasicismo y también
con un sustrato literario. Si es verdad que hay una gran distancia conceptual
entre ambos proyectos aunque no hay tanta desde un punto de vista formal,
os puede servir de referencia.
Para amantes de la poesía y de la vertiente neoclasicista de la
música oscura. |
From Dagheisha:
(by Roberto Michieletto)
Di tristezza, tra i solchi di ‘Songs From
The Ivory Tower’, secondo disco di Sagittarius, progetto solista
di Cornelius Waldner, ce n’è in abbondanza, al pari della
malinconia (e pure nostalgia, aggiungerei io…). Ed è sicuramente
questa la caratteristica primaria delle quindici composizioni, così
come un’evidente impronta neoclassica e melodica che è stata
ad esse donata dal musicista tedesco, che al fine di concretizzare al
meglio le proprie idee ha radunato attorno a sé diversi ospiti,
tra cui Marcel P. di Von Thronstahl, Herr Twiggs di Kammer Sieben e Seelenlicht,
Damiano Mercuri di Rose Rovine E Amanti e Troy Southgate di H.E.R.R. e
Seelenlicht, che lo hanno coadiuvato per le parti cantate e strumentali
di secondo piano, visto che il ruolo di attore principale spetta certamente
al pianoforte suonato da Waldner. Non tutti i brani possono collocarsi
sullo stesso livello musicale, non tanto per il fatto che in alcuni sono
le arie classicheggianti a prevalere e in altri si fanno largo toni maggiormente
neo folk piuttosto che arrangiamenti bucolici, quanto per la qualità
altalenante degli stessi, forse in ciò condizionati dal fatto di
doversi basare sui poemi (di Stefan George, Bernhard Von Uxkull-Gyllenband,
Gottfried Benn, Ludwig Uhland e Timo Kölling) da cui sono tratti
i testi, che probabilmente hanno inficiato la scrittura delle trame sonore.
Per il momento risulta sin troppo semplicistico e non va andare oltre
una scarsa sufficienza. |
From Obliveon:
(by MK)
Lange hat es gedauert bis Sagittarius nach der
„Grossen Marina“, das seinerzeit noch als Vinyl erschien,
mit „Songs From The Ivory Tower“ ihr neues Werk vorlegen.
Doch eins kann man vorwegnehmen, die Wartezeit hat sich mehr als gelohnt.
In Zusammenarbeit mit einer ganzen Reihe von Gastmusikern, darunter Herr
Twiggs (Kammer Sieben), Troy Southgate (H.E.R.R., Seelenlicht), Damiano
Mercuri (Rose Romine e Avanti), Marcel P., Dimo Dimov (Svarrogh) und Philipp
Jonas (Secrets of the Moon) entstand ein wahrhaft wundervolles Album voller
vertonter Gedichte, bei dem das Klavier Cornelius Waldners die musikalische
und durchweg melancholische Basis bildet. Gedichte von Ludwig Uhland,
Gottfried Benn, Stefan George oder Timo Kölling bilden den lyrischen
Rahmen und in der Kombination dieser beiden künstlerischen Elemente
entstehen fünfzehn getragene und nachdenklich stimmende Lieder, die
in dieser Form ganz sicher einmalig sind. Die Handschrift der Gastmusiker
ist dabei stets erkennbar und so sind die Beiträge von Herrn Twiggs
und vor allem Troy Southgate, der den „Guten Kamerad“ von
Ludwig Uhland, übrigens in Deutsch gesungen, neben „Nihil Arisen“,
„Trunkene Flut“ und der Coverversion von Forthcoming Fires
„Europa Calling“ die Höhepunkte eines an herausragenden
Liedern gewiss nicht armen Werkes. „Songs From The Ivory Tower“
ist in der Summe ein sehr intensives und vor allem sehr intimes Album,
das aufgrund seiner zeitlosen Schlichtheit und der wunderschönen
Arrangements immer wieder seinen Weg in den CD-Player finden wird und
einfach nur begeistert. (10/10) |
From Vital
Weekly / Earlabs:
(by NM)
Sagittarius is another interesting story of brains
from the extreme metal scene searching for new musical territories. German
composer Cornelius Waldner was the man behind symphonic black metal project
Hailstorm in the mid-nineties that in its symphonic approach to furious
expressions had similarities with Emperor and Limbonic Art. As Hailstorm
has been put on stand-by Cornelius Waldner concentrates on his solo-project
under the name Sagittarius. The result can be heard on this first proper
CD-release of Sagittarius titled "Songs from the Ivory tower"
released on British label Cold Spring Records. The style of Sagittarius
can be described as crossover between grandiose expressions of neo-classical
and the authenticity of neo-folk. Being a multi-instrumentalist Cornelius
Waldner on "Songs from the ivory tower" plays several instruments.
Dominating instrument is piano meanwhile string instruments as well as
acoustic guitars beautifully accompanies the music in a subtle manner.
The melancholic pace of the music is strengthened by the vocals of Cornlius
Waldner with lyrics sung in German and English. Through out the 15 musical
pieces Sagittarius has guest appearances of label mates Troy Southgate
(from H.E.R.R.) and Damiano Mercuri (from Rose Rovine E Amanti), two well-chosen
contributors since the expressions of Sagittarius has many similarities
with the two aforementioned project, though the Sagittarius sticks to
the introspective and chamber music-like expressions in contrary to the
often more pompous style of H.E.R.R. Another excellent release from the
Cold Spring label once again proving that artists from the extreme metal
has more to offer than expressions of pure wrath. |
From Alternativmusik:
(by Marius)
Würde man jetzt das Haar in der Suppe suchen,
dann könnte man behaupten: Das hat aber ganz schön lange gedauert.
Aber da gut Ding ja bekanntlich gerne mal Weile hat und der im Zusammenhang
mit Rezensionen mehr als überstrapazierte Wein ja auch mit der Zeit
reift, freuen wir uns an dieser Stelle lieber darüber: Endlich ist
es da, das lang erwartete Album Songs From The Ivory Tower von Sagittarius,
dem Projekt um Cornelius Waldner. Nach einigen Umbesetzungen erschien
das Album zwar einerseits dann doch als Solo-Projekt, andererseits trifft
diese Bezeichung auch nicht ganz zu, da sich eine ganze Reihe von Gastmusikern
auf dem Album finden lässt.
Wie von Sagittarius gewohnt, ist das tragende Instrument hier das Klavier.
Dies darf in keinem Stück fehlen und stellt die Hauptsäule dar.
Dabei bemerkt man – wie schon von vorherigen Sagittarius-Veröffentlichungen
gewöhnt – schnell: Dies beherrscht er virtuos. Dramatisch,
gefühlvoll und Spannungsbögen aufbauend wird es gespielt und
weiß den Hörer eindeutig zu berühren. Ob man das dann
am Ende Klassik, Neoklassik oder anders nennt, ist dabei Nebensache –
Fakt ist: Es berührt! Zwar wirkt die Musik auf der einen Seite traurig,
auf der anderen Seite aber ist sie fern davon, verzweifelt, pessimistisch
oder sogar depressiv zu klingen: Immer wieder merkt man, dass auch hoffnungsvolle
Töne dabei mitschwingen.
Der Gesang fügt sich dabei nahtlos ins Gesamtbild ein
– wobei hier ein Blick auf die Texte lohnenswert ist. Wie oft bei
Sagittarius: Stefan George wird in Das Lied vertont, aber auch andere
Namen fallen auf. So singt beispielsweise Troy Southgate Der gute Kamerad
von Ludwig Uhland. Neben eigenen Texten Waldners werden zusätzlich
auch Texte von Timo Kölling und Bernhard von Uxkull vertont. Und
wo mit Troy Southgate bereits ein Gast genannt wurde: Daneben finden sich
beispielsweise auch Herr Twiggs von Kammer Sieben (Stimme bei An des Meeres
Strand), Marcel P. (unter anderem das Cello bei Du stehst am alten Gartentor
und schweigst) und Philipp Jonas von Secrets of the Moon (Gitarre bei
Nihil Arisen) auf dem Album.
Trotz aller Gäste und der Verschiedenheit der Texte:
An keiner Stelle geht der rote Faden auf diesem Album verloren. Die vor
allem vom Klavier getragenen Kompositionen, gelegentlich von anderen Instrumenten
wie Cello, Gitarre oder Flöte ergänzt, wissen zu berühren
und zu gefallen. Es ist doch schön, wenn Warten sich auch mal auszahlt.
Hört man das Album, dann ist im Grunde schnell vergessen, wie lange
es „in der Mache“ war. In diesem Sinne: Hut ab!
|
From Kuolleen
Musiikin Yhdistys:
(by John Björkman)
Sagittariuksen takaa löytyy suomalaisjuuret
omaava saksalaisherra Cornelius Waldner. Kansitaide antaa väärän
ensivaikutelman että musiikki olisi jossakin martiaali- tai neoklassisilla
linjoilla. Sen sijaan Sagittarius onkin vahvasti Current 93-vaikutteista
"runollista folkia": pelkistettyä säestystä mm.
pianolla ja sellolla ja runollista puhelaulua (vailla David Tibetin epätasapainoista
melodramaattisuutta) suurimmilta osin saksaksi.
Tämä kuvailu ei ehkä kuulosta
kovin kummoiselta, mutta Sagittarius onnistuu itse asiassa olemaan erittäin
kaunista ja herkkää, sellaisella yksinkertaisen vaatimattomalla
tavalla joka kauneimpaan folk-estetiikkaan kuuluu. Melodiat ovat kauniita
ja taidokkaasti sävellettyjä, pianon soinnin rikkaus hienosti
taltioitu ja Waldnerin äänessä on paljon tunnetta.
Joukkoon on otettu joitakin muiden säveltäjien kappaleita,
joista jotkut erottuvat harmiksi, Friedrich Silcherin Der Gute Kamerad
vuodelta 1809 ei niin paljoa kuin sankariheviballadilta kuulostava Forthcoming
Firen Europa Calling. Nämä sivuuttaen levyn ainoa haitta on
sen koko matkan mukana roikkuva Current 93-henkisyys. Kuitenkin musiikista
paistaa läpi vilpitön, sisältä kumpuava ilmaisu ja
annan ehdottomasti suositukseni tälle kauniille teokselle.
(and in English):
Sagittarius equals mr. Cornelius Waldner,
a German with Finnish roots. The cover art makes me expect come kind of
martial neoclassic music. Instead, I´m surprised with very Current
93-ish “poetic folk”: stripped-down instrumentation with pianos
and cellos and poetic spoken vocals (sans David Tibet´s melodramaticism)
in German. This may not sound like much as a description, but Sagittarius
succeeds in being very beautiful and sensitive, in an honest and simple
manner fitting the most beautiful folk aesthetics. The melodies are delicate
and skillful compositions, the richness of the piano´s sound has
been perfectly captured, and Waldner´s voice carries plenty of emotion.
The record contains some pieces from other composers, which
stand out to their own disadvantage. Friedrich Silcher´s Der Gute
Kamerad from 1809 not so badly as Forthcoming Fire´s cheesy power
ballad Europa Calling. Beside these two songs, the only thing to remark
about this album is the Current 93-vibe that sticks the whole way through.
But as the music carries such rare sincere emotional expression I will
definitely give my sincere recommendations to this beautiful record. |
From Brainwashed:
(by Simon Marshall-Jones)
It’s hard to believe maybe, but Cornelius
Waldner of Sagittarius started out his musical career playing in a black
metal band, Hailstorm. Like many in that genre, he has felt the need to
explore other avenues of musical expression and Sagittarius is one such
exploration. Songs from the Ivory Tower is essentially the first proper
release on a big label from him, delivering fifteen songs showcasing his
quietly melancholic, small-scale songs and neo-classical instrumentals.
Songs from the Ivory Tower is an entirely appropriate title for
this disc. It is an extremely introspective and reflective album, portraying
a distinctly solipsistic ‘ivory tower’ insularity and isolationist
vibe. Above all, this broadcasts a feeling that the artist has secreted
himself away from the prying eyes of the corrupt modern world for a very
long time, and has developed some circular mental pre-occupations as a
consequence. Despite that and the closed-in feeling of the songs, it nevertheless
possesses an icy beauty along with a sense of mystical detachment and
nostalgia.
Piano, acoustic guitar, and strings form the main musical
accompaniment, along with the occasional bit of flute. The songs, which
are based on the work of the poets Stefan George, Bernhard von Uxkull-Gyllenband,
Gottfried Benn, Ludwig Uhland, and Timo Kölling, are slow sorrowful
reflections, akin to looking into a still black pool of water, and are
sung in a mixture of English and German. As can sometimes happen in real-life,
the thoughts expressed here, born in isolation, have closed in on themselves.
I often felt a sense of tight claustrophobia creeping in, and significantly,
the repetitive nature of some of the instrumental lines, rather than detracting
(or being distracting), further enhance the feeling. Additionally, it
underlines the circularity and restricted orbits of the songs.
The production is excellent, investing the songs with lushness
while at the same time keeping the sparseness very much to the fore. Songs
such as the plaintive piano and guitar opener “Nihil Arisen,”
the simple musical scaffolding emphasising the philosophical despair in
Waldner’s voice, definitely benefit from the Spartan approach. The
same can be said for the short “Der sommer, den die erntezeit gekrönt,”
lone piano chasing Waldner’s German-sung paean. The anger is barely
contained, bubbling broodingly just below the surface. The simplicity
underlines that emotion far more effectively than any amount of bombast
could. Moreover, the whole album is heavily informed with that species
of dark and heavily brooding emotion, hanging over it like thick black
thunder- and rain-laden clouds.
Meanwhile, the instrumentals display a broad Germanic classical
influence, especially in “Menuet von Johann Krieger (für H.E.R.R),”
a piece which wears its 18th century chamber music stylings proudly. The
ensuing track, “Cupio Dissolvi,” is a stately waltz of neo-classicism,
sweeping and swirling around a be-columned ballroom. Perhaps this classicism
is yet another expression of the hermit-like mind, a yearning for things
past simply because they are somehow deemed to be better. Concomitantly
I felt a strong infusion of nostalgia pervading this album, lending a
distant and lost loneliness entirely befitting the delivery and style
of the music.
I have a love/hate relationship with the neofolk/neoclassical
genre, however this example shines through on many levels. While it is
very introspective and very inward-looking, there are enough chinks in
it that allow for more than a glimpse of the nostalgic world that Waldner
inhabits. Make no mistake about this, there is a sepia-tinted nostalgia
present here. The instrumentals reminded me somewhat of Bad Neuschwanstein
in Bavaria for example, the fantasy castle of the Dream King, Ludwid König,
with its hint of an aristocracy on the way down. However, even without
the instrumentals, there is still a sense of years past, that somehow
the modern day has lost its direction. It’s an emotion that many
in these troubled times can identify with. |
From Alternativmusik:
(by Marius)
Würde man jetzt das Haar in der Suppe suchen,
dann könnte man behaupten: Das hat aber ganz schön lange gedauert.
Aber da gut Ding ja bekanntlich gerne mal Weile hat und der im Zusammenhang
mit Rezensionen mehr als überstrapazierte Wein ja auch mit der Zeit
reift, freuen wir uns an dieser Stelle lieber darüber: Endlich ist
es da, das lang erwartete Album Songs From The Ivory Tower von Sagittarius,
dem Projekt um Cornelius Waldner. Nach einigen Umbesetzungen erschien
das Album zwar einerseits dann doch als Solo-Projekt, andererseits trifft
diese Bezeichung auch nicht ganz zu, da sich eine ganze Reihe von Gastmusikern
auf dem Album finden lässt.
Wie von Sagittarius gewohnt, ist das tragende Instrument hier
das Klavier. Dies darf in keinem Stück fehlen und stellt die Hauptsäule
dar. Dabei bemerkt man – wie schon von vorherigen Sagittarius-Veröffentlichungen
gewöhnt – schnell: Dies beherrscht er virtuos. Dramatisch,
gefühlvoll und Spannungsbögen aufbauend wird es gespielt und
weiß den Hörer eindeutig zu berühren. Ob man das dann
am Ende Klassik, Neoklassik oder anders nennt, ist dabei Nebensache –
Fakt ist: Es berührt! Zwar wirkt die Musik auf der einen Seite traurig,
auf der anderen Seite aber ist sie fern davon, verzweifelt, pessimistisch
oder sogar depressiv zu klingen: Immer wieder merkt man, dass auch hoffnungsvolle
Töne dabei mitschwingen.
Der Gesang fügt sich dabei nahtlos ins Gesamtbild ein
– wobei hier ein Blick auf die Texte lohnenswert ist. Wie oft bei
Sagittarius: Stefan George wird in Das Lied vertont, aber auch andere
Namen fallen auf. So singt beispielsweise Troy Southgate Der gute Kamerad
von Ludwig Uhland. Neben eigenen Texten Waldners werden zusätzlich
auch Texte von Timo Kölling und Bernhard von Uxkull vertont. Und
wo mit Troy Southgate bereits ein Gast genannt wurde: Daneben finden sich
beispielsweise auch Herr Twiggs von Kammer Sieben (Stimme bei An des Meeres
Strand), Marcel P. (unter anderem das Cello bei Du stehst am alten Gartentor
und schweigst) und Philipp Jonas von Secrets of the Moon (Gitarre bei
Nihil Arisen) auf dem Album.
Trotz aller Gäste und der Verschiedenheit der Texte:
An keiner Stelle geht der rote Faden auf diesem Album verloren. Die vor
allem vom Klavier getragenen Kompositionen, gelegentlich von anderen Instrumenten
wie Cello, Gitarre oder Flöte ergänzt, wissen zu berühren
und zu gefallen. Es ist doch schön, wenn Warten sich auch mal auszahlt.
Hört man das Album, dann ist im Grunde schnell vergessen, wie lange
es „in der Mache“ war. In diesem Sinne: Hut ab! |
From Terrorverlag:
(by Gerrit)
Ganze fünf Jahre sind verstrichen, seitdem
der Paderborner Cornelius Waldner nach zwei vorangehenden Demos SAGITTARIUS
mit seiner Debüt-LP „Die große Marina“ erstmals
der Öffentlichkeit vorgestellt hat. Zwischenzeitlich war nur noch
eine Beteiligung am Sampler „Salon Décadence“ sowie
die „Fragmente II“ CD-R in einer Kleinstauflage zu verzeichnen,
doch nun ist ein würdiger Nachfolger fertiggestellt worden, der mit
15 Stücken dann auch ein mehr als ordentliches Quantum Musik aufweist
und zudem über das neue Label Cold Spring Records leichter als die
bisherigen Veröffentlichungen zugänglich sein sollte.
Auf „Songs from the Ivory Tower“ ist Cornelius
Waldner erneut in ein neoklassisches Gewand geschlüpft und zeichnet
dabei sowohl für Klavier und Flöte als auch für Teile des
Gesangs verantwortlich. Der ruhige und zeitweise schwermütige Grundtenor
der Lieder wird überwiegend vom Klavierspiel getragen, bei dem zumeist
ein bestimmtes Thema dominiert, welches dann über die Dauer der einzelnen
Titel ausgebreitet wird. Zugleich ist das Klangspektrum aber auch erweitert
worden und es kommen häufiger Cello und Akustikgitarre als weitere
Begleitinstrumente zum Einsatz. Die größte Weiterentwicklung
ist allerdings darin zu sehen, dass zwei Drittel aller Stücke nun
nicht mehr bloß instrumental verbleiben, sondern mit Vocals versehen
worden sind. Dieser Unterschied zeigt sich schon bei dem – ebenso
wie das H.E.R.R. gewidmete „Menuet von Johann Krieger“ bereits
von „Salon Décadence“ bekannten – Opener „Nihil
arisen“.
Danach folgen zunächst vier Kollaborationen zwischen
Waldners Klängen und Texten des Schriftstellers und Lyrikers Timo
Kölling, über dessen Renovatio Verlag die Vorgänger LP
seinerzeit noch erschienen ist. Trotz aller immer wieder aufrankenden
Spekulationen zur politischen Ausrichtung des Projekts ist insoweit festzustellen,
dass die im Beiheft komplett abgedruckten Texte diesen jedenfalls keine
neue Nahrung geben werden. Auch im Übrigen wollen wir uns hier allein
darauf beschränken, was das vorliegende Produkt hergibt und uns nicht
an Mutmaßungen beteiligen, die – wie auf einschlägigen
Internetauftritten zuweilen anzutreffen – ihre einzige Grundlage
in zusammengeschusterten und halbgaren Verknüpfungen zu anderen Personen,
Bands oder bestimmten Konzertkonstellationen haben.
Denn andere auf „Songs…“ verwendete Texte
entstammen etwa der Feder von Gottfried Benn, Stefan George oder Ludwig
Uhland, dessen hier zum Einsatz kommendes Gedicht „Der gute Kamerad“
bereits 1825 von dem deutschen Komponisten Friedrich Silcher vertont worden
ist und das hierzulande auch heute noch Bestandteil von militärischen
Trauerfeiern ist. Eingesungen wurde diese eher traditionell ausgerichtete
Nummer von niemand geringerem als Troy Southgate (H.E.R.R./ SEELENLICHT).
Dieser ist Teil einer recht illustren Gästeschar auf dem Album, als
da insbesondere noch wären Herr Twiggs (KAMMER SIEBEN) mit einigen
Gesangsbeiträgen, Damiano Mercuri (ROSE ROVINE E AMANTI) an der Gitarre
oder Marcel P. (VON THRONSTAHL) an Cello, Bass und Mikro. Ungeachtet dieser
großen Seilschaft bestehen die Lieder aber mit einem harmonischen
Arrangement und gelungenen Performances.
Musikalisch sticht neben dem guten Kameraden außerdem
das Cover von FORTHCOMING FIREs „Europa Calling“ heraus. Intoniert
von Damiano Mercuri ist hier ein bemerkenswertes Neofolk-Stück mit
Ähnlichkeiten zu dessen Stammband entstanden. Um dieses herum sorgen
zum Ende des Albums hin dann auch noch drei etwas längere, verhältnismäßig
introvertierte Klavier-Kompositionen für einen distinguierten Ausklang
dieser insgesamt interessanten künstlerischen Darbietung. |
From Legacy:
(by Richard Klasen)
Seit der letzten regulären SAGITTARIUS -
Langrille "Die große Marina" sind auch schon wieder fünf
Jahre ins Land gezogen. Zwar wurde diese Wartezeit immer wieder mit kleineren
Tonträgern aufgelockert, so richtig das Wasser reichen konnten diese
ihrem Vorgänger indes nicht. "Songs From The Ivory Tower"
kommt da gerade richtig und verspricht Abhilfe. Musikalisch besinnt sich
der kreative und nicht unumstrittene Kopf hinter SAGITTARIUS, Cornelius
Waldner, erneut auf seine alten Stärken, nähert sich aber gleichsam
einem seiner Haupteinflüsse, dem Current 93-Meisterwerk "Soft
Black Stars" an. Die Klaviatur der Fusion sanfter Pianoklänge
mit introvertiert und rezitativ vorgetragenen Gedichten gelingt hervorragend
und umschifft weiträumig die Gefahr kitschiger (Marmor-) Klippen.
Greift Waldner anfangs noch selbst zum Mikro, übergibt er dieses
später an Gäste wie Damiano Mercuri, H.E.R.R.-Sänger Troy
Southgate oder den ungewohnt unsicheren ('An des Meeres Strand') Kammer
Sieben - Vokalisten Herrn Twiggs. Merkwürdig, denn Waldners Stimme
ist definitiv stark genug, um auch ohne Promi-Unterstützung bestehen
zu können, zumal er sich selbst mit Musikern aus dem weiteren Von
Thronstahl-Umfeld mit Sicherheit keinen Gefallen tut, was auch für
die Forthcoming Fire-Coverversion 'Europa Calling' zutrift. Vertont werden
daneben Gedichte von Stefan George, Gottfried Benn, Bernhard Victor Graf
Uxkull-Gyllenband, Ludwig Uhland und Timo Kölling. An der Akustikgitarre
in 'Nihil Arisen' hilft in bewährter Tradition Philipp Jonas (Secrets
Of The Moon). Unterm Strich eine mehr als lohnenswerte Anschaffung für
Freunde neoklassischer und neofolkloristischer Musik. |
From The
Shadows Commence:
I thought this was the debut album from SAGITTARIUS,
but after some research I found out that Cornelius Waldner actually did
release a limited vinyl some years ago, so this should be the second one.
And yes, Cornelius Waldner is the master brain behind SAGITTARIUS, this
wonderful neoclassical project I recently discovered. ”Songs from
the Ivory Tower” is a 15 track long trip through some of the darkest,
yet most gentle piano compositions since ELIJAH’S MANTLE & OZYMANDIAS
released their ”The Soul of Romanticism” album all those years
ago. Further parallels can be drawn as well; most of the lyrics here on
”Song from the Ivory Tower” are, like all in the other mentioned
work, adapted poems by great writers from throughout the history. The
first song, though, is written by Cornelius and ”Europa Calling”
is of course a cover of the magnificent flag-ship by FORTHCOMING FIRE,
later made famous in these circles by VON THRONSTAHL.
So, I mentioned that the main instrument of choice for Cornelius
is the piano, but he also sings and plays flute, and has invited several
friends (Marcel P. from aforementioned VON THRONSTAHL, Damiano Mercuri
- ROSE ROVINE E AMANTI, Herr Twiggs - KAMMER SIEBEN, SEELENLICHT, Troy
Southgate also from SEELENLICHT but most notably HERR and a somebody called
Philip Jonas) to play cello and acoustic guitar. These are also providing
some vocals in some tracks.
We are immediately thrown straight into one of the best songs,
”Nihil Arisen”, with a rather simple piano melody and Cornelius
distinctive vocals, there are also some guitar-work in between the verses.
But really, it’s hard to point out the highlights on this disc since
it has a very even level from start to end... Of course, ”Europa
Calling” is always delighting to hear in every version, so also
here. Another really touching one is ”The Song” or ”Das
Lied”, (different versions of the same song, the English version
has vocals by Troy Southgate, the German by Marcel P.) a rather folky
song, with a really enchanting flute melody over the piano plings. It’s
also great fun to sing along to, and for those who would like to give
it a try, the booklet holds all the lyrics.
By the way, speaking of folk songs, the one that follows after
”Das Lied” is another very strong and rather uplifting one.
Negative sides are a few. Cornelius has a fine voice really,
but sounds a bit insecure sometimes, especially in the English tracks,
but this is of course not a big deal at all and I’m not even sure
if that affects the over-all score; this is a well-deserved high pointer,
with very gentle instrumentation and great poems that can really tingle
your intellect. Splendid, classy, wise and noble neo-classical, for the
ivory tower climbers. |
From Judas
Kiss: (by Simon Collins)
Songs From The Ivory Tower - has any album title
ever more succinctly summed up the elitist and idealist aspirations of
neo-folk and martial industrial music? Sagittarius is the solo project
of German musician Cornelius Waldner, and Songs From The Ivory Tower is
the band‚s second album following 2003‚s Die Große Marina,
released as a limited edition vinyl LP by Renovation Verlag, and still
available as a free download from the Sagittarius website and from Neo-Form
magazine (www.neo-form.de). For the recording of Songs..., Cornelius Waldner
has assembled a formidable array of guest musicians, including Marcel
P. of Von Thronstahl, Halgadom etc., Herr Twiggs of Kammer Sieben, Damiano
Mercuri of Rose Rovine E Amanti, Troy Southgate of H.E.R.R. and Seelenlicht,
and Philipp Jonas of Secrets Of The Moon.
Songs... opens with a song in English, 'Nihil Arisen'. Cornelius
Waldner's wistful piano finds an apt counterfoil in Philipp Jonas‚
guitar, as Waldner intones the mournful lyrics in a clear, simple spoken
recitative. The general effect is similar to Golgatha or some of Karsten
Hamre's (Penitent, Arcane Art) work. However, the song is marred by the
words simply not fitting the rhythm of the music, which is a shame. Fortunately,
nearly all of the album‚s remaining tracks are either instrumentals
or in German, so this problem doesn‚t arise again. The following
four songs form a sort of suite, all being based on poems by Timo Kölling,
the former editor of the German black metal magazine Moondance and a member
of Trist. All the lyrics are given in the album booklet, but without English
translations, so you‚re on your own there. Musically, the songs
are dominated by neo-classical piano work. Marcel P. contributes cello
to 'Du Stehst Am Alten Gartentor Und Schweigst' and 'An Des Meeres Strand'
and 'An Des Meeres Strand' features vocals by Herr Twiggs, who arguably
has a deeper, richer voice than Waldner.
Later songs feature lyrics by other German poets, including
Stefan George, Bernhard von Uxkull-Gyllenband, Gottfried Benn and Ludwig
Uhland. Of these, the most famous is undoubtedly Stefan George, whose
'Das Lied' is the seventh track on Songs..., with the vocals being handled
by Marcel P. Cornelius Waldner contributes piano and flute, at least according
to the album notes, but this doesn't sound like a concert flute to me,
more like a wooden flute or recorder.
The following song, 'Der Gute Kamerad' has vocals by Troy Southgate.
Now, those who have read my previous reviews of H.E.R.R. and Seelenlicht
will know that I'm not the most ardent admirer of Troy Southgate's vocal
stylings, but here, he‚'s not half bad. In fact, I'll go so far
as to say that this is the most enjoyable work I've heard so far from
him - his voice suits the material, it melds well with Damiano Mercurio's
acoustic guitar, and overall it sounds quite a bit like Ian Read of Fire
+ Ice. A stately, formalist minuet by Johann Krieger follows, also with
Damiano Mercurio on guitar and more of that mysterious flute.
The thirteenth song is 'Europa Calling', a cover version of
the song originally recorded by Forthcoming Fire, but made famous by the
several different renditions of it released by Josef K.'s subsequent band,
Von Thronstahl. This song has become something of a neo-folk anthem, a
rallying cry for the Children of the Black Sun to rival Death In June's
"Runes And Men", and Sagittarius fully do it justice:
Don't you hear Europa calling
For him who leads the children home...
(This song, incidentally, is not to be confused with the
Sol Invictus song of the same name, which is also very fine, but is entirely
unrelated.)
The album concludes with a bonus track, 'The Song', an English
rendition of 'Das Lied', with Troy Southgate again handling the vocals,
and again sounding good. Apart from my reservations about the opening
track‚s clunky lyrics, Songs From The Ivory Tower is an effortlessly
pleasant listen, with many talented musicians playing real instruments,
strong lyrics and beautiful neo-classical arrangements. Praise and plaudits
to all involved - this is another quality release from Cold Spring fit
to stand beside Von Thronstahl, Rose Rovine E Amanti and Werkraum at the
more melodic end of the Cold Spring roster. |
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