Anything Goes : 4 Awesome Reviews for Mortensemble debut Album: "Sacred Music in the English Style"! by Erik-Peter Mortensen

Hi Everyone! Just wanted to share four reviews I received from a randomly selected panel of reviewers from the "ReviewYou" agency who reviewed the debut album of my vocal group - Mortensemble: "Sacred Music in the English Style..." If you're interested in hearing or buying the album, or even a few tracks, please visit: Itunes: https://itunes.apple.com/us/album/missa-auld-lang-syne-gloria/id80918880... CD Baby: http://www.cdbaby.com/cd/mortensemble1 Amazon: http://www.amazon.com/Sacred-Music-English-Style-Mortensen/dp/B00IDPQ0IA... Many of the tracks in this album could be quite powerful for visual media if you're for a solid choral and/or spiritual emotion, including a few that are especially appropriate for Holy Week, Passover and Easter coming up as well! Cheers :-) EP _________________________________ Reviews by “ReviewYou” reviewers: Review # 1 Erik-Peter Mortensen has taken up the unusual task of recording and producing great master choral works under the group name of Mortensemble. He’s been a singer since a child, when he was a boy soprano for the Met Opera Children’s Chorus. And what he loved as a child, he still enjoys as an adult. The average person likely won’t recognize many of these tracks, which are categorized as Renaissance, Neo-Renaissance (Stile Antico) performances. This isn’t the typical music of your local church choir, unless they’re being extremely ambitious one Sunday, nor is this the music of a typical high school choral group. Rather, it is complicated music. Listening through makes me think of classical music – only with voices. Some of it is new, while some of it is old. Mortensen himself created some of what these 12 singers perform. One song that is very recognizable, although not entirely in its present form, is “Missa Auld Lang Syne: Kyrie.” This one is a fancied up version of that song we know a few words of and try our best to sing each New Year’s Eve. In this case, it’s performed with a round-like bevy of vocal harmonies. I’ll bet if anyone tried to sing it this way at a New Year’s Eve party, some at the gathering might think they’ve had just a little bit too much alcohol for their celebration of that New Year. As Erik-Peter explains it, “Missa Auld Lang Syne” was composed in 2004 as a gift for a bunch of his musical buddies, which he knows as “The Friday Night Singing Group.” These singing aficionados have been getting together for more than 30 years on the Upper West Side, solely to sight-read Renaissance polyphony. One imagines few others would appreciate such a gift as much as this musical group did. Based on an old Scottish folk tune, this song is not just for the end of the year, even though that’s when the majority of people either hears it or sings it. However, it’s appropriate for any sacred event representing a beginning or an ending (e.g. a wedding or a funeral). You can tell Mortensen had a little fun with it because the melody is quoted often during each mass movement, whether in whole or in part. The key also vacillates constantly between minor and major modes. Although this music is light years away from what’s heard coming from most Sunday morning choir lofts, there nevertheless is a strong spiritual element running through many of these recordings. “The Lamentations of Jeremiah,” for example, was inspired by the Old Testament’s weeping profit, while “I Have Made Thee O Lord” is obviously religiously inspired. Even if you don’t fully comprehend Mortensen’s intelligent musical design, you’ll enjoy the singing simply for its high quality. You’ll also probably never listen to simplistic pop music vocalizing the same way again, either. Dance music, in particular, is based around minimal note melodies, which are repeated over and over again. Harmonies in it are a couple parts at most, usually, and rarely complicated. Mortensen is like a musical scientific genius, mixing and matching vocals like a hyperactive lab technician. The results are both beautiful and emotionally moving. The human voice is, after all, the first instrument. Yet it oftentimes gets forgotten by our modern musical practitioners who are far more excited about what’s the latest and greatest gadget and style. Sometimes, when you want to hear something new you need to reach back and listen to music you hadn’t previously explored – many times from the distant past. Such may be the case with Erik-Peter Mortensen and Mortensemble. These sounds date back way before the modern era, but when placed side by side with what’s popular now, they sound truly innovative and new. Sacred Music in the English Style is a creative collection of choral music that may also inspire you to dig a little deeper into the various choral styles it represents. Artist: Erik-Peter Mortensen and Mortensemble Album: Sacred Music in the English Style Review By: Dan MacIntosh Rating: 4 Stars (out of 5) Review # 2 Any fan of inspirational and sacred music will want to listen to Sacred Music In The English Style. Erik-Peter Mortensen has long been a fan of the ancient style of choral composition. The English style of music that you hear on this album takes the listener back to the Elizabethan Era. Erik-Peter wrote ten of the fourteen songs found on the album with the other songs being composed by notable composers from the Tudor period such as William Byrd and Thomas Tallis. Listening to this album is not only a religious experience, but it is also acts as a sort of time travel device. The opening two tracks come from "Missa Auld Lang Syne" a parody mass written by Mortensen in 2004 for some musical friends. The two parts of the mass opening the album are the "Kyrie" and the "Gloria" Their location as the album's openers is appropriate as these songs are found at the beginning of the Episcopal/Anglican mass as well as the Roman Catholic mass. The vocals handled by Erik-Peter and Mortensemble act as the time machine that carries the listener back to one of the ancient churches in England. This isn't music that you'll hear in church on Sunday, unless you are lucky. Mortensemble helps some weary listeners to remember what making a "joyful noise unto the Lord" should sound like. William Byrd's "Quem Terra Pontus" is a haunting Marian hymn. "The Lamentations of Jeremiah" by Tallis was written during Elizabeth I's reign. There's something more lush in this version than by any other. The vocals are more powerful and moving. "I Have Made Thee O Lord" is another original composition by Mortensen as is "In My Heart's Most Inmost Shrine." Listening to these new compositions after the two composed hundreds of years ago, you can hear just how much the music of the Elizabethan Period has influenced Mortensen. The only difference that you can pick out between the music by Byrd and Tallis and the compositions of Mortensen is the language. That speaks well for Mortensen's writing style. It is even more evident when you compare the parts of "Missa Auld Lang Syne" with the works of the Elizabethan masters. It is more than just Mortensen's writing style that makes these songs stand out, it is the voices of Mortenemsble, of which Erik-Peter is a member. Listen to the sopranos' voices soaring through the closing track "Agnus." The harmonies will leave even a casual listener breathless. The version of the Eucharistic hymn "Ave Verum Corpus", written by William Byrd is done perfectly. The song conveys the reflective nature of this part of mass. It is a more somber piece. One of Erik's stand out compositions is "Teach Me, O Lord." The high notes are stunning. It is written in the style of the Jacobean verse anthem. Once again, it is the type of song that will allow listeners to envision themselves in one of the world's biggest cathedrals. The "Sanctus" or the "Holy Holy Holy" is a true religious experience. It will leave you wishing you were sitting in a pew somewhere. The vocals make you feel closer to God. You don't have to be a fan of spiritual music to enjoy the beauty of the music found on Sacred Music In The English Style. One only needs to be able to appreciate fine voices, and there are none finer than the one's making up Mortensemble. Sacred Music In The English Style is an album of music that is will delight your ears and touch your soul. It would be a welcome addition to any music lover's collection. Artist: Erik-Peter Mortensen and Mortensemble Album: Sacred Music In The English Style Review by Andrea Guy Rating: 5 out of 5 stars Review # 3 Centuries ago when silk stocking attired men were composing liturgical pieces for vocal ensembles did they never dream that the individual voices would ever sing their parts alone devoid of the physical human closeness of the fellow singers. Erik-Peter Mortensen has exhibited superb recording prowess in his ability to blend a dozen voices, many double-tracked, in creating the aural illusion of a full choir in a candle-lit cathedral. Mortensemble’s debut album Sacred Music in the English Style features works by past masters, however the majority of compositions are Mortensen originals. The versatile vocalist and talented audio engineer has spent most of his life immersed in classical music and has a keen passion for Renaissance works. Thus, his choral works written in the ancient style blend in superbly with the familiar works on the album. Currently, Mortensemble exists only in a studio setting what with the conflicting schedules of all the renowned vocalists Mortensen has assembled from his own personal address book. With the warmth and ardor these professionals exude through the music, one would never know each voice was recorded in isolation yet thankfully the true essence of these sacred works is experienced. Men’s voices in an accapella classical setting can be cherubic and Mortensen takes full advantage of this lovely timbre in Thomas Tallis’ “The Lamentations of Jeremiah”. In both Parts I and II, Bill Heigen sings countertenor, tenor and second tenor while Mortensen doubles those parts as well as handles the baritone and bass roles. The men’s expressiveness and glorious harmony make this piece hauntingly mesmerizing. For William Byrd’s devotion to the Virgin Mary “Quem Terra Pontus” Mortensen again sings bass while James Kennedy sings tenor and Aaron Lauber countertenor. In Byrd’s Eucharist hymn “Ave Verum Corpus” Mortensen sings all four vocal parts himself resulting in a comfortable blend. A highlight of the album is Mortensen’s rendering of his original “A Pharisee Went Up” a literal English translation of Luke 10: 25-28 as a baritone solo with dual guitar accompaniment. Mortensen’s commanding yet unassuming delivery is riveting. Another exquisite soloist is soprano Emily Speer in Mortensen’s “Teach Me, O Lord” taken from portions of Psalm 119. Speer’s dreamy vocals are accompanied by Mortensen in the countertenor and bass roles, Edwin Santayana singing tenor, and a pipe organ. The largest collection of vocalists appears on Mortensen’s five to eight part variation on Robert Burns’ poem and New Year’s anthem “Auld Lang Syne.” Joining Mortensen on the bass line is Jay Gould along with tenor Max Blum, countertenors Lauber and Heigen and sopranos Sarah Moulton Faux and Jeenie Yoon. Mortensen’s recording technique minimizing the echo gives clarity to the voices and snatches of the familiar tune are heard throughout “Missa Auld Lang Syne” as it is sung in the traditional Kyrie, Gloria, Sanctus and Agnus settings of the liturgical mass. Sacred Music in the English Style is a fine collection showcasing excellent musicianship from Mortensen in his many roles as performer, arranger, composer and audio engineer. Aficionados of this genre will share Mortensen’s hope that his Mortensemble will continue to grow and introduce new compelling works as well as beloved favorites. Artist: Mortensemble Album Title: Sacred Music in the English Style (Cathedral Records) Reviewers Name: Kelly O’NeilRating: 4 stars Review # 4 Erik-Peter Mortensen and Mortensemble celebrate the religious and historic works of classical, Renaissance, and early music with choral medleys, Christian worship hymns, a cappella compositions, and chamber sounds. Erik-Peter Mortensen enlists the help of numerous vocalists, including sopranos, altos, countertenors, tenors, baritone, and bass singers. Erik-Peter Mortensen’s upbringing in Elizabethan music, choral music, and formal, scholarly study, gives the album a powerful and soul-stirring edge throughout the fourteen tracks. “I Am the Resurrection” begins with a trio of male voices where the vocal tune is rather steady throughout with slight vocal intonations and inflections that possess a cascade effect in parts. Importantly, the tune is completely void of instrumentation. However, the real power of the track comes from the haunting vocal arrangements in a dramatic and spiritual manner. “A Pharisee Went Up” opens with a solo psaltery-type instrumental segment that incorporates English vocals from a male singer, Erik-Peter himself. The Christian-inspired song creates a great ambiance with the psaltery or dulcimer-type instrument that meanders in an angelic and relaxing fashion. The strong vocals are solid throughout and the instrumentation is relatively sweet and serene. “Ave Verum Corpus” begins with a haunting and dramatic choral assembly that is very spiritual and classical. The wholly vocal track contains a mix of vocal ranges and styles that work flawlessly together. The vocals are rather deep and rich with an almost magical presence, but it is deeply religious in tone. “Supplication for the Holocaust” opens with a solid female voice that is backed by several male and female vocalists. The vocalists are not accompanied by any instruments. The vocals are very soothing, majestic, and cinematic at the same time. Nothing is awry here. “Teach Me, O Lord, The Way Of Thy Statutes” opens with an organ intro that is accompanied by a female vocalist within the first ten seconds. The English-lyric song is joined with male singers, too. After the first vocalist medley, the organ shines with sparkling charm and the solo female vocalist once again. After the female solo, other vocalists join in with angelic charisma. There are higher registers attained by some of the female vocalists at the end of the song. Erik-Peter Mortensen and Mortensemble create a vivid and historic masterpiece of religious vocal music in an ancient style originating from the High Renaissance era. The fourteen songs represent several different compositions, but some are variations of the same title. At any rate, Erik-Peter’s classical know-how and musical intellect shines through on every composition without fault. The music is rather complex with a variety of harmonic devices that suggest and imply different emotions, feelings, and meanings throughout. All of this is achieved by including globally-relevant tunes in a sacred format with Christian inspiration and heavenly guidance. Most of the tracks do not contain any instrumentation, as the voices serve as the instrument transcending time and space. The two instances of instrumentation generally revolve around a psaltery-type instrument or organ. This is more of a religious work with vocal, choral, and Christian appeal with a sacred ambiance stemming from Renaissance sources. At any rate, fans of Christian, vocal, early music, classical music, opera, Renaissance music, A Cappella, and worship music will find the new album most rewarding. Fans seeking instrumental collections need look elsewhere, as the vocals are the primary mode of sound production here. Artist: Erik-Peter Mortensen and Mortensemble Album: Sacred Music In The English Style Review by Matthew Forss Rating: 5 Stars (out of 5)