All That Our Mothers Have Fought is the second album from the Aurum Chamber Choir (Kammerkoret Aurum) at NativeDSD on the 2L Music label. It is a collection of contemporary, Norwegian choral works portraying strong women.
The music illustrates some of the many storms that women have had to – and still have to – weather. They tell stories about the women’s suffrage movement, about a Syrian student risking her life to complete her medical education, and about a small girl’s defiance.
All of these stories open our eyes to different viewpoints on women’s struggles. The driving force behind this collection is our wish to provide new perspectives on the weeping women of the Norwegian national anthem, thru music composed by Tone Åse, Trond Kverno, Marianne Reidarsdatter Eriksen, Birgit Djupedal, Ellen Lindquist and Eva Holm Foosnæs.
Members of the Choir say “Our album is finally ready! On Sunday March 6, 2022 we launch “All That Our Mothers Have Fought”, that the choir has been working on for over several years. We are looking forward to it, and hope you will to!”
Aurum Chamber Choir (Kammerkoret Aurum)
Eva Holm Foosnaes, Conductor
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 00:52:14
Additional information
| Label | |
|---|---|
| SKU | 2L167 |
| Qualities | DSD 512 fs, DSD 256 fs, DSD 128 fs, DSD 64 fs, DXD 24 Bit, FLAC 192 kHz, FLAC 96 kHz |
| Channels | 2ch Stereo, Auro3D, 5.1ch Surround, 2ch Stereo & 5.1ch Surround |
| Artists | |
| Composers | Birgit Djupedal, Ellen Lindquist, Eva Holm Foosnæs, Marianne Reidarsdatter Eriksen, Tone Åse, Trond H. F. Kverno |
| Genres | |
| Analog to Digital Converters | Horus, Merging Technologies at DXD (24 bit, 352.8 khz) |
| Digital Workstation | Pyramix Workstation on Ravenna AoIP from Merging Technologies |
| Executive Producers | Aurum Chamber Choir (Kammerkoret Aurum) and 2L |
| Financial Support | Kulturrådet, Sparebank1 SMN and Trondheim kommune |
| Mastering Engineer | Morten Lindberg |
| Microphones | DPA Microphones |
| Monitoring Loudspeakers | Genelec One |
| Musical Director | Eva Holm Foosnæs |
| Instruments | |
| Original Recording Format | |
| Producer | Morten Lindberg |
| Recording Engineer | Morten Lindberg |
| Recording Location | Selbu Church, Norway during November 2019 and November 2020 |
| Release Date | March 4, 2022 |
Press reviews
Ballade
The Aurum Chamber Choir from Trondheim, Norway offer newer choral works that depict and pay tribute to strong women. From rights activists, to Malala. To a Syrian woman who chose to stay in her home country to complete her medical studies. To women who have to do so much (“Smile nicely, wash up, eat healthy / do not think so much about everything“). This is both contemporary music and community music – with many important messages.
The music has a liberated expression where there is room for both limitless experimentation and tree sounds and traditional harmonics. It is fabulously sung, and beautifully conducted by Eva Holm Foosnes. The album also has absolutely fantastic sound (we are talking about 2L after all) and a cover with captivating collages by Ashkahn Honarvar, which stand as strong visual comments to the lyrics.
A favorite for me is the theatrical All That The Mothers Have Struggled with text by actress and author Marianne Meløy and music by the experimental composer Tone Åse. Åse is best known for conducting electronic manipulation of voice sounds, but here she writes for choirs without cables. The result is reminiscent of things I saw down in Teaterhuset Avant Garden’s dark black box when I was a student in Trondheim. The thoughts also go to Kåre Kolberg’s Plym-Plym from the playful and radical 1970s. Sometimes wild and festive – sometimes it’s beautiful and breathtaking.
Another highlight on the album is Trond Kverno’s setting of perhaps Christianity’s most moving text: Stabat Mater Dolorosa. This text deals with something truly universal – the very original grief of a mother: Mary crying at the cross, at the body of her adult son. This is a piece that has again become eerily relevant in light of the cruel acts of war in Ukraine – where all men must be left in the country to fight, while women and children have the opportunity to flee. Kverno’s composition is as moving as the grief it conveys.
There are many reminders on this record that the women’s struggle does not belong to the 1970s, but must be fought again – again and again.
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