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Le Bal Masqué

8,9911,99

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SKU: 8595 Category:

Tracklist

1.
'Suite dans Le Style ancien' in D Major Op. 2 - Prélude
01:01
2.
'Suite dans Le Style ancien' in D Major Op. 2 - Entrée
00:00
3.
'Suite dans Le Style ancien' in D Major Op. 2 - Sarabande
02:14
4.
'Suite dans Le Style ancien' in D Major Op. 2 - Menuet
00:00
5.
'Suite dans Le Style ancien' in D Major Op. 2 - Ronde Francaise
00:00
6.
String Trio, Op. 58 - Allegro Moderato
02:32
7.
String Trio, Op. 58 - Adagio
00:00
8.
String Trio, Op. 58 - Allegro con spirito
00:00
9.
Sonatina Nr. 2 Op. 194 - Andante, Très calme, presque Adagio
02:35
10.
Sonatina Nr. 2 Op. 194 - Andante con moto
00:00
11.
Sonatina Nr. 2 Op. 194 - Presque Adagio
00:00
12.
Sonatina Nr. 2 Op. 194 - Allegro
00:00
13.
Le Bal Masqué - Préambule Et Air De Braboure
00:00
14.
Le Bal Masqué - Intermède
01:39
15.
Le Bal Masqué - Malvina
01:38
16.
Le Bal Masqué - Bagatelle
01:33
17.
Le Bal Masqué - La Dame Aveugle
01:36
18.
Le Bal Masqué - Finale
00:00

Description

The French composers who were attracting attention around 1920, and who were given the collective title of the Groupe des Six by the critic Henri Collet, were united above all by negative characteristics: they were all in rebellion against the powerful influence of Wagner and against the (in their opinion) vagueness of symbolism and impressionism. In their battle they sometimes resorted to musical pranks which were a transitory characteristic, for example, of the music of Honegger and Milhaud, but which would remain characteristic for Francis Poulenc (1899-1963) for some years to come.
Poulencs cantata Le Bal Masqu is written to texts by the poet Max Jacob, whose work can be seen as closely approaching surrealism; it dates from 1932. The instrumentation is strongly reminiscent of Stravinskys LHistoire du Soldat: oboe, clarinet, bassoon, cornet a piston, piano, violin, cello, and percussion-the latter under the control of one single player. In addition, the composer has precisely specified the placement of the nine performers and the conductor on the podium. Poulenc considered the work as a sort of carnival which he had set up in collaboration with the poet. This makes the introduction of a blind lady acceptable, a device which would be in questionable taste outside of this absurdist setting. (Note: This cantata was composed on the eve of Hitlers Machtubername in Germany.

Additional information

Artists

Recording date

February 1995

Mastering equiment

sony DAE 3000

Mastering engineer

bert van der Wolf

Mixing console

rens Heijnis

Microphones

bruel & Kjaer, Schoeps

Recording format

pcm 44.1

Analog to digital converter

dCS900

Recording location

The Netherlands

Composers

, , ,

Editing

Bert van der Wolf

Recording engineer

Bert van der Wolf

Producer

Ted Diehl

Type

,

Format

Label

Genre

,

Digital to analog converter

Sony

Press reviews

Répertoire

(…) Telle les musiciens du Viotta Ensemble la prsentation-ils, lumineusement. (…)

Hervormd Nederland

(…) een originele keuze uit het Franse kamermuziekrepertoire (…) (…) een accuraat en speels pleidooi. (…)

Le Monde de la Musique

(…) Ces quatre partitions sont excellemment servies par le Viotta Ensemble (…)

Klassiek

(…) Als ik er een cijfer voor mocht geven, werd het zonder twijfel een tien (…) (…) Gaat dit horen (…)

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