Emmanuel Rhené-Baton Vidéos
musicien français
- France
- chef ou cheffe d'orchestre, compositeur ou compositrice
Dernière mise à jour
2024-05-16
Actualiser
Alexander Voormolen Matthias Bamert Johan Wagenaar Roussel Ravel Casella Delius Florent Schmitt Debussy Een Residentie Orchestra 1748 1895 1915 1916 1919 1920 1923 1924 1925 1927 1928 1931 1938 1947 1955 1957 1980
Alexander Voormolen +••.••(...)) Baron Hop Suite No. 2 : for orchestra (1931) 1. Ouverture Viva Carolina - 00:00 2. Menuet Princesse Royale - 05:54 3. Air Willem V - 11:59 4. Rondo Wolfenbüttel - 17:48 Orchestra: Residentie Orchestra The Hague Conductor: Matthias Bamert dedicated to Henk Spruit Alexander Voormolen was a Dutch composer. He studied composition in Utrecht with Johan Wagenaar and with Willem and Martinus. In 1916, on the recommendation of Rhené Baton (who conducted his overture to Maeterlinck's La mort de Tintagiles at The Hague in 1916), he went to Paris, where he worked with Roussel and became close to Ravel, Casella, Delius and Florent Schmitt. He returned to settle in the Netherlands in 1920, first in Veere and moved to The Hague in 1923. For many years he was music critic for the Nieuwe Rotterdamsche Courant, and then from 1938 to 1955 he was librarian of the Conservatory of The Hague. Voormolen's first works (those from the years 1915--1925) show a chromatic harmonic style influenced by Debussy, Ravel and Delius, and also an early return to Baroque forms. In addition, after 1919 he drew increasingly on Dutch folksong, as in the piano suite Tableaux des Pays-Bas +••.••(...)). In the 1920s Voormolen searched for a more individual, typically Dutch style, one that was permeated with old tunes, the sound of the Dutch carillon, and that evoked the atmosphere and elegance of the Dutch Baroque. This resulted in such popular scores as the Baron Hop suites +••.••(...)), the orchestral variations De drie ruitertjes (1927), the concertos for one or two oboes (1938) and the symphonic poems Een zomerlied (1928), Arethuza (1947) and Eline (1957).
René Emmanuel Baton Louis Aubert Notre Dame 1877 1879 1909 1921 1922 1940 1968 2016
Phillip Sear plays the third piece from the suite 'Au Pardon de Rumengol' (At the pilgrimage of Rumengol) by the French (Breton) composer Rhené-Baton +••.••(...)). / René-Emmanuel Baton +••.••(...)) was a French composer, pianist and (appropriately named) conductor. His family came from Brittany, and he is identified with the early 20th century cultural renaissance in that region. His best known work (and the only one widely played) is the Passacaille, Op. 35 for flute and piano, and he is also remembered for his piano suite 'En Bretagne' Op. 13 (1909). 'Au Pardon de Rumengol' (written in 1921 and published in 1922) may have been intended as a follow-up to the success of 'En Bretagne' - and the subject matter of its movements is very similar. The 'Pardon de Rumengol' is a famous pilgrimage to the sanctuary of the church of Notre-Dame de Rumengol where there is a 15th century statue of the Virgin Mary and an apparently miraculous fountain (you can read all about it here: (http•••) ). Rhené-Baton's harmonies are more advanced in this suite than in 'En Bretagne', but there is a similar use of plainsong-like thematic material, which gives a somewhat plaintive effect to this idyll. The suite is dedicated to the composer's far longer-lived friend , the French composer and pianist Louis Aubert +••.••(...)). My thumbnail shows a photo from a 2016 'pardon' at Rumengol (source: (http•••) ). / / Played by Phillip Sear (http•••) (Email: •••@••• WhatsApp: (http•••) )
René Emmanuel Baton 1879 1902 1940
00:00 Vieille Romance; 01:57 Bluette; 04:10 Une Petite Gavotte (from 'Pour Yvonne') / A French viewer kindly sent me copies of these three short pieces (I hope he received my thank-you letter). René-Emmanuel Baton +••.••(...)) was a French composer, pianist and (appropriately named) conductor. His family came from Brittany, and he is identified with the early 20th century cultural renaissance in that region. His best known work (and the only one widely played) is the Passacaille, Op. 35 for flute and piano, and he is also remembered for his piano suite 'En Bretagne'. The pieces on this video - all written in March-April 1902 - were intended for young people, but are not lacking in musical subtlety. Thumbnail image by Wombo Dream. / Played by Phillip Sear (http•••) (Email: •••@••• WhatsApp: (http•••) )
Albert Charles Paul Marie Roussel Debussy Ravel Emmanuel Rhené Baton Charles Dutoit Orchestre National France 1520 1869 1919 1921 1937
Albert Charles Paul Marie Roussel (5 April 1869 – 23 August 1937) was a French composer. He spent seven years as a midshipman, turned to music as an adult, and became one of the most prominent French composers of the interwar period. His early works were strongly influenced by the impressionism of Debussy and Ravel, while he later turned toward neoclassicism. Symphony No. 2 in B flat Major, Op. 23 +••.••(...)) Dedication: Emmanuel Rhené-Baton 1. Lent (♩= 72) - Moins lent (♩= 84) - Lent - Moins lent - Modérément animé (♩= 108) 2. Modéré (♩‧ = 88) (15:20) 3. Très lent (♩= 44)- Moins lent (♩= 52) - Très lent - Modéré (♩= 84) - Très lent (♩= 48) - Moins lent - Modérément animé (♩= 96) - Plus animé (♩= 108) (23:11) Orchestre National de France conducted by Charles Dutoit Description by Aaron Rabushka [-] This work is a grand and brooding symphony whose tone is mostly one of striving. It is in three movements, each of which includes fast and slow music. The first movement starts out slowly, gets faster, then slows down again. The densely-colored introduction introduces a tonal conflict between D major and the title key, B-flat. Eventually violins come in with the first theme of the fast part, which is later taken up by flute and oboe. Both the theme and its accompaniment are nervous and insistent. Horns and violas announce the more sunny and optimistic second theme, after which both themes are worked over in an atmosphere of striving and conflict. Material from the introduction intercedes, as if to halt progress, and things slow down on the way to the conclusion, which, like the introduction, is in B-flat and D. The second movement starts out fast, with woodwinds prominent. Shortly after the beginning the violins give out a gamboling theme over piquant harmonies and colors. Sometimes the gamboling becomes heavy-footed, informed by Roussel's characteristic gruffness. The coloristic felicities are too numerous to mention, although a high clarinet line over lusty horn parts seems noteworthy. The middle section is slower, and more reflective. A tad disturbed at first, it eventually works up to the striving mood of the first movement. The first part abrubtly dismisses the concerns of the middle section when it returns in a varied recapitulation. The third movement starts out slowly, and returns to the striving tone and thematic materials of the first movement. The harmony eventually stabilizes into B-flat, resolving the tonal conflict if not the dramatic one. We may not be victorious, but we are at rest.
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