QUATERNA REQUIEM

Quaterna Requiem emerged as one of Brazil's finest bands during the '90s at a time when, coincidentally, symphonic prog was going through something of a resurgence. Judging by the number of reviews here at PA the band isn't that well known, so it might be helpful for me to mention that they are often compared to Camel; there are certainly similarities to The Snow Goose. This live album from 1999 proved to be their last, although Elisa Wiermann teamed up with original bandmate Kleber Vogel for 2003's A Mao Livre. In fact Vogel also makes a guest appearance on this recording, playing violin on the final track Velha Gravura. This is the only track from the band's debut to make the set list here, which is maybe a bit surprising. There are a couple of previously unrecorded tracks, namely Triade and Solo De Bateria (although the latter is basically a drum solo as the title suggests). The remaining three pieces are culled from Quasimodo. The recording itself is taken from a concert at the Teatro Scala in Rio de Janeiro; the sound quality is excellent.

Quaterna Requiem's brand of symphonic prog is influenced by Classical music although this influence reaches far beyond, as far as the medieval period. They aren't as adventurous as the likes of Gentle Giant however; their music is much more straightforward. Nonetheless this set kicks off with Fanfarra, which starts out sounding pretty much like a Middle Ages fanfare played on electric instruments. This is a wonderfully energetic version of the tune that has Jose Crivano's biting guitar vying with Elisa Wiermann's synthesizer for the main focus of attention.

This is followed by Quasimodo, or at least a heavily truncated version of the track. The original piece from the album of the same name clocked in at over 38 minutes. This one is shortened to just over 19 minutes and it's missing the crumhorns, the acoustic guitar and recorders, the serene church organ and Gregorian chanting. Still, the musicianship is top- notch and it's an epic performance given the labyrinthine nature of the track. Quaterna Requiem certainly loses much of its sophistication in the live setting, but makes up for it with a slight rawness that possibly carries more of a sting.

One of the band members makes some announcements prior to the next track, Triade. Of course he speaks in Portuguese so I haven't a scooby what he says. Anyway Triade isn't as strong as the established material here, but I suppose it's nice to have some new stuff alongside the older tracks. The mighty Irmaos Grimm follows, and for me this epitomizes Quaterna Requiem's comely fusion of medieval flourishes with soft progressive rock. Moody in places, maybe even brooding, but also burning with fiery energy and always highly melodic.

Drummer Claudio Dantas's thunderous showcase Solo De Bateria leads us to the final track, the 23-minute version of Velha Gravura. Whereas the studio cut of Quasimodo has been abridged to half its length for this live performance, Velha Gravura has been doubled to make room for some protracted solos. It features Kleber Vogel, whose elegant violin playing is coloured with washes of pathos. Enchanting. The band show that they can rock as well though, and all the musicians get the chance to shine. Vogel screeches and scrapes alongside Crivano's virtuoso guitarwork and Wiermann's firecracker keyboards. Splendid... more dynamic and even better than the original.

This album is a fine introduction to Quaterna Requiem although I'd probably recommend the studio albums, both of which are excellent, ahead of this. If you're already familiar with the band then you'll want this for the outstanding version of Velha Gravura. 3 stars overall.

Quite impressive video done by this terrific symphonic outfit from Brazil. I must say I was a little skeptical about this DVD when I first saw it because Quaterna Requiem´s releases were few and far between. I was wondering if they could put a a show that was not simply a showcase for the technique of original members Elisa Wiermann (keyboards) and Kleber Vogel (violin). Fortunatly what you got is pretty much a coletive efford from a band in great form. Instead of long solo pieces that sometimes plague these kind of instrumental only music, most of the songs are perfomed by the whole band.

And what a show! Great, beautiful instrumental prog music performed with passion by skillful musicians and very well recorded. Their mix of classical music with prog rock is simply fantastic. Wiermann proves herself as a fine songwriter as much as terrific player. Violin and guitar duels are all over the place and the rhythm section is strong and precise. There is little indulgence here, the focus of the whole presentation is to give the listeners over 110 minutes of fine, well crafted music. Of course there is the inevitable drum solo (expected in such long performance), but you can´t have everything your way,. Influences are many, mostly classical, but there also some Pink Floyd, Yes and Italian symphonic rock similiarities. But the music is much their own and the closest group I can think of is another brazilian ourfit, Sagrado Coração Da Terra (minus the vocals, of course). But actually I think Vogel´s violin playing is different from Marcus Vianna´s. vogel seems tobe more from the school of Jean Luc Ponty, really. A very inspired perfomance that every prog lover should see and hear. Rating: something between 4,5 and 5 stars (sorry, I really hate drum solos!). Highly recommended

It took me quite a long time to review this CD. By the name of the band, I thought it was one of those essembles of classical musicians that form a group to record an album or two under the banner of progressive music but actually plays a kind of their own version of classical music, sometimes adding rock instruments. And the first track seems to be just like that: classical guitar solo, with violin, flute and oboe. Good, ok, but not really prog rock.

Fortunatly the following tracks showed very good rocking moments, even if classical music is indeed their forte (nothing against it!). Only the 10 minute Madrugada showed the same rock-less vein of the opener. All others are great and the 12 minute title track is simply brilliant! Terrific violin played by Kleber Vogel (who would soon be leading his own prog outfit Kaizen, with a similar style of music). The production is not the best, but does not spoil the final result either.

In the end I have to agree with most reviewers here that this album is an excellent addition to any prog music collection. Pretty good music done by skillful musicians and strong compositions. I´m looking forward to hear their latest works. For a first one, Velha Gravura is quite promising and outstanding, even if it has its (minor) flaws. Final rating: 4 stars.

OK, where's the rock is the question. When compared to their debut, this is one step back, to the classical waters, but without prog rock, without it it's just good album. If the one of the good things is to find music on which you can put your hat on, then there's another question. Where's my hat ?

As you can see, this album is quite disappointment for me, I expected much more. And it's obvious, because I've listened to "Gravura" recently. OK, there's rock, but in different way, as shown in Fanfare for example. But in this case, classical element is missing. And synths can't emulate it and bring courtyard feeling, full of troubadours on both sides of throne room. And king said: "wait a minute, it's a neo-prog genre, not symphonic song". And he way right, this sounds like some kind of Pendragon. I like Pendragon, but it's almost like a treason to hear it here. OK (number 2), it may be progress, they evolved, moved somewhere else. Or stepped back ? I still don't know.

But there's another problem. More than classical music, this is old music, medieval, renaissance like combined with rock. Of course, much differently than Blackmore's Night do it, but I can feel old times here. Older than old times, ancient times of music, maybe even Dark Ages, but still, I would kill for Aquintha. But in general, even epic in length, but rather dull in sounds, album catcher Quasimodo is like Russia. Vast space, occasionally populated by sounds (people).

4(-) and I don't like doing this. Still, it's fair that way.

EDIT: It's not so bad after all when compared to other similar bands that I know. It's long, very long, but it manages to remain interesting till the sweet end (not bitter)

I know, this album seduces to give it full rating, because of, how Prog-Jester said, pure melody and emotions. That's completely true, I can't imagine how deaf, or cold-hearted one would have been to resist this kind of music and not be affected at least partially.

Even you wouldn't guess prog rock from hearing first part of first track, Ramoniana, because it's in fact classical, acoustic guitar played song, as these which Andres Ségovia played. And the rest of them is different, very, very different. This is symphony, true meaning of symphonic rock, I mean classical instruments (just one, violin, but you can be sure it can be heard a lot), or at least classical sounding music together with rock, or in the other words, original description of symphonic prog.

Maybe it sounds strange, but I hear bass guitar all over the place, trying to reach first place of your most loved instrument here, but of course, 1st is far, far away, with violin sitting here and spicing this tasty music food flavour.

4(+), because few flaws, some inevitable, others made by accident. There are calm parts, where not much is going on. I know, it's part of long compositions and can't be separated, but still, it's here. And other things, well, here and there, not so big ones. Maybe I'll give more after few listens more will pass bye. But I'm aware that as all classical influenced prog albums, even this can fool one to give 5 star masterpiece rating just because of it.

Sorry to sat this and to be in a little disagreement with reviews for first QR album. Ive read reviews that say that one is the ner one symph prog rock work of Brasil. I found it quite boring and quite a repetition of what we have listened from Gryphon.

But this album is a really masterpiece:melodies in the vein of Minimum Vital and Sagrado Coracao de Terra. Elisa Wiermann is a splendid composer and keyboardist as Viana is asplendid musician in SCDT.

There is so much creation here ,and i must say that without vocals,only instrumental melodies is quite more difficult to create a good album. Here we have a really great composer with of course all her piano classic music studies background.

Very inspired work with roots of the renaissance age and folk of Brazil. Very beautiful but maintaining equilibrium:

4 stars

I totally agree with erik. Elisa IS Quaterna Requiem. In my opinion, concert highlights are: Horda, Velha Gravura and Irmaos Grimm. Everything is neat and melodious, in addition the have a very powerful feeling in all their tracks, specially the bass player, who seems to be compenetrated during the entire concert.

This is history and it will be a very relevant piece of prog-history soon. Remember my words

EXCELLENT!!!

Pure melody and emotions!The very thing I like in Prog!Despite the abscence of vocals, this album is flawless.Sometimes music reminds of Jethro Tull (the opening folkish tune), sometimes of Marillion (the main theme of the title track is based on Market Square Heros-like marching rhythm with great harmony - Em/ C/ D/ Hm ),sometimes it is very moody and dark (Madrugada reminds me of "Twin Peaks" theme), but most of the time it flows in subtle intelligent manner of Genesis/Camel/UK/Yes.Highly recommended for every progger - this rare item is a Must! Wow, I'm going to become a fan of instrumental albums!!!

For years I intended to buy a CD from the splendid, highly acclaimed Brasilian band Quaterna Requiem but every time I postponed it, due to several reasons. Two weeks ago I noticed that the Brasilian progrock label Rock Symphony had released a DVD by Quaterna Requiem, I immediately ordered it! This DVD is recorded live in 2004 because of the 15 years existence of the band (in 1990 they released their first album).

Listening and watching to this DVD it becomes very clear that Quaterna Requiem plays very tight, fluent and powerful and all musicians are very crafted. Every of the 12 compositions is a juwel featuring wonderful, fluent twists and turns, great soli and tasteful arrangements, this is excellent 24-carat symphonic rock! The 'man' behind this amazing band is .. Elisa Wiermann, indeed, a woman in prog! It's obvious that she is classically trained very well, she plays virtuosic and very varied and Elisa is also the main composer, a big hand for her! My highlights on this compelling and varied DVD are Prefacio (great build-up featuring a captivating contrast between the classical violin, fiery electric guitar and lush keyboards), Gargula (beautiful harpsichord intro, then a swinging rhythm with sparklin violin work, powerful electric gutiar and breathtaking interplay by all musicians), Tempestade (very alternating delivering JL Ponty inspired violin play and a wonderful strings-sound), Cantilena (dreamy climate with flute, acoustic guitar and classical sounding violin), the long Irmaos Grimm (dynamic, again outstanding interplay and a flashy Miimoog-like synthesizer solo), Horda (spectacular break featuring a sensational synthesizer - and fluent organ solo), Velha Gravura (loaded with soli, on keyboards, drums, bass and guitar and exciting interplay between the electric violin and electric guitar) and the final track Toccata (a tribute to JS Bach with sparkling church-organ runs, lots of strong shifting moods and a bombastic 'grand finale', EXCELLENT!

THIS DVD IS A MUSICAL DOCUMENT, A HIGHLIGHT IN THE LATIN-AMERICAN PROGROCK HISTORY!!

www.progwalhalla.com

To dare undertake the musical adaptation of Victor Hugo's seminal novel "notre Dame de Paris" is a challenge that only a supreme talent like Elisa Wiermann (yes, she is a she!) can pull off with such utter brilliance. Incorporating outright classical themes, baroque settings and typical progressive musicianship, Miss Wiermann weaves a sonic tapestry destined to unhinge the jaded fan , using a vast arsenal of keyboards (church organ, the sadly underused in prog harpsichord, the ubiquitous Mellotron and a battery of synths), aided and abetted by some fine sidemen on acoustic and electric guitars , a resolutely pounding bass , some busy percussives and in support of the more overt medieval sections, recorders and krumhorns a la Gryphon. The album is sent immediatly into an aural orbit with a roman arena like fanfare, with sampled trumpets beckoning the listener into a maelstrom of exquisite sounds, all culminating with a final 39 minute title track suite . The band excels in expressing the spirit behind the tragic hunchbac's existence the music being both solemn (gregorian chants) and touchingly human. Words are hard to descibe the joy expressed by this CD , so go out and get a copy , even if you have to swim all the way to Rio. The outcome is worth it! 4 church belles