ECM 1818 
http://www.ecmrecords.com/Catalogue/ECM/1800/1818.php

* Terje Rypdal: guitar
* Palle Mikkelborg: trumpet
* Iver Kleive: church organ
* Åshild Stubø Gundersen: soprano
* Bergen Chamber Ensemble
. Kjell Seim: conductor

Tracks
~~~~~~
01 - 1st Movement - Luminous Galaxy 15:51
02 - 2nd Movement - Fjelldåpen 11:28
03 - 3rd Movement - Escalator 7:22
04 - 4th Movement - Toccata 10:44
05 - 5th Movement - Lux Aeterna 15:20

Recorded live at Molde Jazzfestival, Domkirke, July 19, 2000

Review
~~~~~~ 
http://www.allmusic.com/album/terje-rypdal-lux-aeterna-r635850
by Thom Jurek

Lux Aeterna is a new five-movement work by composer, guitarist, and improviser
Terje Rypdal who, like his labelmates Michael Mantler and Jan Garbarek, has done
a great deal to blur the lines between European jazz and contemporary classical
music. Rypdal's ensemble, which includes himself on guitar, trumpeter Palle
Mikkelborg, church organist Iver Kleive, and soprano Åshild Stubø Gundersen,
work live alongside the Bergen Chamber Ensemble conducted by Kjell Seim at
Domkirke's Molde Jazz Festival to create a work of stunning beauty, crystalline
silences, and time-expanding dynamics. Over the five movements, Rypdal creates
specific harmonic tensions that are resolved with a creative and disciplined use
of varying tonalities and durations. In the first movement, "Luminous Galaxy,"
the chamber ensemble and Gundersen open the piece for nearly four minutes and
you begin to take in and feel your way through the lush soundscape; Mikkelborg
enters with a half note, slipping like a fine-edged knife into the heart of the
mix. At eight minutes it's just Mikkelborg and a drone of strings before the
ensemble gradually reenters this entirely new sonic world that presents itself
as a whole, and the musicians do so almost pastorally before Kleive's organ
announces its solo presence, once again courting the strings to advance into its
sonic terrain. Before the first movement is finished, the piece comes full
circle just in time to create an entirely new series of landscapes propelled by
Rypdal's guitar. And so it goes. There is nothing remotely cold about this work;
it is warm and dark and stunning in its stark presentation that is so
deceptively complex. By the time the fifth and title movement commences, the
listener has been to many worlds within the sonorous terrains of the heart. The
lines blur between improvisation, classical music, and jazz, but also between
sound and music and between rhythm and space, as tonal fields and textural
planes become refracted in reverse into an awesome whole that extends themes
Rypdal first explored in Q.E.D. and his double concerto. Terje Rypdal is making
the greatest music of his life.