(Symphonic Prog) Aviva (Aviva Omnibus) - попытка дискографии, WavPack (iso.wv), lossless

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Concept:

Et vidi cAELum Novum et terram novam...

(And then I saw the new heaven and the new land...)

Revelations after The Holy John is the foundation stone of "Rokus Tonalis" which forms the arc between the first and the last parts of the album (The Alpha and The Omega). There are seueral parallel plans deueloping separately

The first plan is the structural-musical deuelopment itself. The album contains traits of sonata and suite forms. H parts-pictures haue many-partial inner structure.

The second one is the textual deuelopment. Et uidi caelum nouum et terram nouam... -a man starts his way and he's ready to reach his aim. The "Rokus Tonalis" main character is the Paul (collected character: Blessed Paul - the holy man, Paul Hidemith - a man of aft, a monk and a commoner). Ml these characters in one person go the same way to reach for the ideal and 6od.

The third plan is a technological utask of the composer to incorporate Paul Hindemith's polyphonic piano cycle (ludus Tonalis) into the modern canuas of electric and rock riffs and rhythms.

Prelude - PoSTLUDIUm "LUDUS toNAUS" BY P.HiNDEmiTH, miRRoR image of THE parts. IF this mUSICAL THEmE is THE FINAL oF "LUDUS toNALIS", THIS IS THE BEGINNING IN "roKUS tonalis". Prelude IS A BIRTH oF LIFE, THoUGHT, IDEA AND IDEAL.

Prima (Blessed Paul's PHANToms) - visions, Blessed Paul's DREAms. Clipping CoNSaoUSNESS oF moDERN PEoPLE, CoNFUSED THoUGHTS, FAST CHANGING oF PICTURES. when a person TAkES A SoLID DECIsioN, HE'S BEING TEmPTED BY DoUBTS. mUSICALLY IT'S A SmALL CoNCERT piece for piano AND ELECTRoNIC oRCHESTRA.

Secunda (Sliding on the surface) - Sliding on the surface of life. Life and THoUGHTS oF THE PERSoN IN CHASE AFTER SEEmiNG mATERiAL WELL-BEING. MUSICALLY - IT'S a oNE-piece ComPoSITIoN WITH A Small FUGATTo IN THE miDDLE.

Tertia (The DesTRUCTIoN oF FaENa) - The Destruction of Faena is a crash of people's illusions.

Pastoral - The Holy Bible reference. Faith finding.

UNDERWATER SERMoN. The biblical grotesQue scene. The Christ's Sermon on the MouNT DEFoRMATED BY SECTARIAN INTERPRETATIoN. NEW DELUSIons and TEMPTATIons. MUSICALLY IT'S a 16-miNUTE compoSITIon in SUITE form WITH soNATA ELEMENTS. THE compoSER's AND HiNDEMITH'S THEmES build a STYLISTIC mIXTURE coNSTANTLY INTERTWINING.

The Waltz at the end of Times - the return to fantasies, dreams and gloomy visions. The vision of Apocalypse.

MoLTo Largo (Calm Light) - The person's seclusion for praying and renewal of NEW SPIRITUAL STRENGTH.

Walking down the burning scores - It's metaphoric. Scores are people's sins. Burning the scores we redeem our faults.

Hymn - et vidi caelum novum et terrain NoVAm; PRimum enim caelum et prima terra abierunt, et mare Iam non est. And then I saw the new heaven and the new land as the former heaven and land had vanished and there was no sea.

PoSTLUDE - Prelude's mirror image (Alpha and Omega).

1. Prelude

2. Prima (Blessed Paul's Phantoms)

Et vidi CAELum novum et terram novam...

3. Secunda (Sliding on The Surface)

4. Tertia (The Destructisn of Faena)

The little star had evidently been swamped by the brilliant flare of a supernoVA. SomEWHERE immEASURABLY FAR AWAY, BEYoND THE FRINGE of THE GALAXY, the latest cosmic DISASTER HAD TAKEN PLACE AND THE LIGHT of a oNCE EXPLoding STAR had finally REACHED sol AND ITS PLANETS. AND oNLY BY CHANCE HAD noW WAIT UNTIL the planet. TRAVELLING ACRoss THE SKY on A comPLEX PATH DIVERGENT FRom THAT of the stars. Emerged FRom THE BRILLIANT LIGHT of THE SUPERNoVA AND BEGAN to SHINE at a DISTANCE WITH ITS USUAL FAINT.

"Faena doesn't exist any more, a star has lit up in its place, but not for long."
"So, no more Faena!? And what happened!?"

"The disintegration war, which we have all been so afraid of, has evidently taken place on our UNHAPPY FAENA. AND ITS ciVILISATIon HAS commiTED..."

5. Pastoral (In mense autem sexto...)

In mense autem sexto missus est angelus Gabriel a Deo in civitatem Galilaeae. cui nomen Nazareth, ad viRGiNEm desponsatam viro, cui noitien erat Ioseph de domo David, et noitien virginus ITIaria. Et ingressus ad eam dixit: "Ave. gratia plena. DomiNus TECum". Ipsa auteih turbata est in sermone eius et cogitibat QUALiS ESSET ISTA SALUTATIo. Br AIT ANGELUS el: "Ne TimEAS, MARIA: invenisti enim gratiam apud DEUm. Et ecce concipies in utero et paries FILIUm, et vocabis nomen EIUS LESUM. HiC ERIT mAGNUS ft FlLIUS ALTISSimi voCABITUR, ET DABIT illi DomiNus Deus sedem David partis eius, et regnabit super Domum Iacob in aeternum, et regni eius non erit finis".

6. Underwater Sermon. / please see page 6/

7. The Waltz At The End of Times

8. molto Largo (calm Light)

9. Walking Down The Burning Scores

10. HYmN (Et vidi caelum Novum...)

11. Postlude

Not a long time ago, when AVIVA was brought to the Symphonic Team for addition, I was not sure if they belonged here, because if it wasn't for some electronic keyboards, they would had been a great candidate for the Neo Classical charts, because he structure is something totally different, with echoes of Rachmaninoff and Bartok.

Being that nobody else would accept them, we believed that they deserved to be added, and even though when I have some doubts, I am glad that they are here, because their music is simply outstanding, no matter if they are a pure Symphonic band or not and of course the most important component for their inclusion is Progressive Rock, and it's clearly present.

Before I start my analysis of "Rokus Tonalis", I feel the need to say we are not talking about a proper band, AVIVA is the brainchild of the virtuosos performer and excellent composer Dimitri A. Loukianenko, who plays all the instruments with an uncredited guitarist.

The main theme is the "Apocalypse of Saint John", but being instrumental we have to trust in the word of the author, even when the dramatic and mysterious atmosphere is a good indication of the concept, so without more to say, lets go to the songs

Prelude is a short introduction to the fabulous music we are about to review, the first impression is the excellent piano and the obvious dissonances, there's obviously a Modern Classical influence that makes it extremely interesting

Prima - Blessed Paul's Phantoms starts absolutely violent, the organ shows an ELP influence that most reviewers talk about, but I respectfully find secondary, the center of everything is the extremely complex composition and the aggressiveness with which Loukianenko attacks the piano and keyboards, the changes are dramatic, passing from modern synths and organs to classical piano with an Avant Garde feeling in the background. Exquisite combination of sounds and atmospheres, around the middle I find a very strong resemblance to Carl Palmer's "The Enemy God Dances with the Black Spirits", but the development and conclusion is absolutely unique.

Secunda - Sliding on the Surface is linked to the previous track, again the dominant instrument is the piano which is plaid with great skill, but then the Prog spirit appears with the synth and organ, as frying to reach to the surface from the ocean of Classical music in which is immerse. But not everything is dramatic to the extreme, some lighter passages with a touch of Fusion give a bit of light to a well developed dark atmosphere.

Tertia - The Destruction of Faena marks a radical change, at this point we are talking about a pure Prog track with incredibly dramatic changes from the dark passages to some more brilliant, in the background the listener can feel a religious Baroque sound that gives some hints about the concept, another magnificent song.

Pastoral as it's name indicates, is a bit bucolic and pleasant compared with the aggressiveness of the previous tracks, the author gives the listener some time to breath and prepare for the strong tortured sections about to come.

From the start of Underwater Sermon the listener can feel the tension, the radio, but not even the radio messages added prepare anybody for the violent crash of sounds and dissonant instruments, even when some jazzy sections relax a bit, the collision of sounds keep the suspense, because with AVIVA you can never guess what's coming next.

The Valse at the End of Times starts with an ELP oriented section with the same dexterity as Keith Emerson, Loukianenko tortures the keyboards but gives us pleasure with one of the most fantastic and elaborate songs of the album, Some passages are contradictory and extremely complex, but with great skills Loukianenko jumps to fluid sections, just to hit us without warning with the heavy artillery, the only word that comes to my mind is flawless.

Molto Largo .- Calm Lightstarts with suspense, the low volume of the organ seems to announce something harder is coming, a mysterious music goes slowly "in crescendo", but only reaches a relative climax at the end, this guy knows how to keep the listener waiting for the unexpected, but suddenly a radical change and we notice it's a new short track called Walking Down the Burning Scores, which is simply brilliant and for the first time flows naturally till the end with a display of skills at the keyboard, the album keeps getting better as the time passes.

Hymn is not what I was expectuing for the end (in this album nothing is as expected), the soft organ with a constant jazzy drumming that again goes "in crescendo" and never reaching the climax, this may be seen as something by many people, but it's what the musician tried to do and achieved success. Special mention for the Moog performance.

The album is closed with Postlude, a weird track that words can't describe with justice, because even when it seems as leading nowhere, the effect of culmination is reached.

There's not much to add, "Rokus Tonalis" is a fantastic album that I hope marks a new era of Symphonic Prog, and even when I hardly give a perfect rating to a debut album, this time I will make an exception and rate it with 5 solid stars.

- Dimitri A. Loukianenko / Piano, and other instruments.
- Unnamed guitarist

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Aviva Omnibus - Nutcracker in Fury 2008.wv
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Psychedelic take on classical Cajkovskij opera (or ballet by Tchaikovsky if you please), "Sisoethepa" is, by my opinion, quite strange intro. Sets the mood for entire album, indeed, but could be better. From this album, I expected rock approach to classical music, something more like metal perhaps, but result sometimes don't please me much.

"Overture in Fury" is well played (for a classical-rock song). Maybe too much of electronic sounds, but I can get over it (first seconds for example), but I understand that it can be for better psychedelic atmosphere. "Heavy March" is also without bigger flaws, but it's quite sad for me, because I would rather see something less artificial, this kind of modern synths using, but something so big like this project doesn't exist. It's just 70s prog lover in me who wants it back. After these two tracks, main theme ends and gets here less known ones.

"Children of the Damned" starts as groovy track, in slow rhythm, with 3:07-3:27 done on modified voice and clear to see use of samples. This reminds me that this record is little bit oversampled, but as I said for many times, in the end it doesn't matter too much. "The Frozen Dolls Town" shots (amongst other things), at 3:42-3:58 beautiful example of synth strings. These high tones are well performed. But when I hear name "Dance of Tea Giants", I imagine something different, much softer and weaker (like tea) than this fury (fury as name of the album, of giants (as the name of the song). Are these sounds in the middle monkey screams ? Or is someone from band so creative that he done it himself ? Applaud, very playful song. Even in Porcupine Tree style, sometimes heavy, sometimes psychedelic, sometimes tender.

"Flower Fever" melody was my favourite as classical "Waltz of the Flowers", now it's remade into combination of electronic themed song, some parts sounds like they're combined with sounds of the tavern and then, something, are these strings ? Well, more like synths, but it sounds so faithful reproduction. "Coda Cold" leaves synths almost completely and enters more rockingly sounding music, which I welcome. In last third it again returns to take its toll. "Apotheosis" is something of calm outro, where we can think about wonderful musical (box) show we just heard.

4(+) stars for crazy (furious) Nutcracker.

- Aviva: Keyboard / Vocals
- Yurij Molodoy: Guitar
- Andrew Pruden: Guitar on Dance of the Tea Giants
- Vika: Keyboard / Violin
- Mamina: Drums /Bass

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Aviva - Peer Gynt in Favour 2010.wv.cue
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readme\[RUS] README No unpacking needed to play or burn this release.txt
readme\[ENG] README No unpacking needed to play or burn this release.txt
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Russian project AVIVA is the creative vehicle for composer and keyboardist Dmitry Lukianenko, and first came to prominence in 2007 with the release of "Rokus Tonalis." Since then a band version of the project named Aviva Omnibus issued "Nutcracker in Fury" in 2008, and then in 2010 the next stand-alone Aviva project appeared in the shape of "Peer Gynt in Favour". As with the other CDs named, this latest venture was handled by the French specialist label Musea Records.

"Peer Gynt in Favour" is a production that appears to be a tribute to the late and great Edvard Grieg first and foremost. Themes and motifs from his Peer Gynt suite are explored in a distinctly electronic setting, ranging from tranquil new age to energetic and close to industrial in scope. Cold and synthetic material, but also vital and refreshing as long as you have a soft spot for electronic music made with a clinical contemporary sound. An estimated target crowd for this CD would be those who enjoy Vangelis just as much as Nine Inch Nails, and I'd guess that those with a soft spot for artists such as Isao Tomita might find this one enticing too.

- Aviva