Marcel Claudel News
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2024-03-29
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2021-09-07 06:28:40
Arthur Honegger: Mélodies et Chansons from Holger Falk & Steffen Schleiermacher
[…] selection of Honegger's songs ranging from Quatre Poemes from 1914/1916 to Quatre Chansons pour Voix Grave from 1945. Many are tiny, the longest is 3'35 and the shortest is just 40 seconds, 46 songs lasting a total of 73'30, with the result that a number of the song cycles resemble mosaics of tiny pieces rather than assemblages of larger-scale independent songs. The poets are largely contemporary and names such as Jean Cocteau, Apollinaire and Paul Claudel providing links with Honegger's contemporaries Francis Poulenc and Darius Milhaud. But it is best to forget these two, and concentrate on Honegger himself and his approach to writing for voice and piano. Born in France of Swiss parents, he studied both at the Zurich Conservatoire and the Paris Conservatoire, where his teachers included Charles-Marie Widor and Vincent d'Indy and whilst Honegger followed the fashionable trends he was never the most progressive of 20th century […]
2020-12-31 10:01:04
[…] this did not sit easily with him and he changed his composing style radically. ESO will be playing Emil Bauer's Fantasie on Jonny spielt auf. The concert ends with one of the most iconic jazz-age classical works, Le boeuf sur le toit by French composer Darius Milhaud (1892-1974). Originally a surrealist ballet, Milhaud based the music around songs which he had learned in Brazil where from 1917 to 1919, he served as secretary to Paul Claudel, the eminent poet and dramatist who was then the French ambassador to Brazil, the work had originally been intended as the accompaniment to a silent film, and Milhaud re-worked the music into a virtuosic violin concerto, Le boeuf sur le toit, Cinéma-fantaisie for Violin and Orchestra, which is played here with soloist Zoe Beyers, leader of the ESO. Full details from the ESO website.
2020-11-21 10:00:39
A restlessness with the present: soprano Katharine Dain chats about her new recital disc 'Regards sur l'infini'
[…] more songs by Claire Delbos and wants to look into the composer further. She sees all the other pieces in the programme as sharing this restlessness with the present. For Katharine, Debussy's Proses lyriques from 1892/3 are all full of sadness, angst and nostalgia with three of the four being backward looking, contemplating things being better in the past. Debussy wrote the songs after recently being heartbroken, perhaps by the sculptor Camille Claudel (1864-1943), and it was the only time that he set his own lyrics, and Katharine feels the songs are very personal to him. The two songs by Henri Dutilleux on the programme, Chanson de la déportée and Regards sur l'infini (from Quatre melodies) are early songs and he only acknowledged them late in life. Both written during World War Two, Katharine finds them heartbreaking in their grief. […]
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Faces of classical music
2018-12-07 17:12:00
Javier Perianes plays Claude Debussy: Préludes Book I, & Estampes (Audio video)
[…] Frits Thaulow, one of whose paintings Debussy owned; according to Roger-Ducasse, it recalls a past love affair. Debussy specifies that the haunting and immutable rhythm of this prélude "must be the equivalent in sound of a sad and frozen landscape" (doit avoir la valeur sonore d'un fond de paysage triste et glacé). Ce qu'a vu le vent d'ouest (What the west wind saw), the title of which was apparently inspired by a work by Paul Claudel, contrasts with the previous piece in its "hot-tempered, tumultuous" (emporté et tumultueux) character, the strident use of the interval of the second and the virtuosity of its runs, which recall the technique of Liszt, whom Debussy called one of the "beaux pianistes" he had heard (in Rome in his youth). La fille aux cheveux de lin (The girl with the flaxen hair), with its archaic sonorities, takes its title from a poem by Leconte […]
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