François Leclère Video
compositore francese
Commemorazioni 2025 (Morte: François Leclère)
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2024-05-02
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Georges Martin Witkowski Alexis Galpérine Leclère
Georges-Martin Witkowski, sonate pour violon et piano Alexis Galpérine, violon Hugues Leclère, piano
Domenico Scarlatti Muñoz Leclère Arsenal 2001 2013
Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): (http•••) Physical purchase: (http•••) Artist: Artemandoline, Mari Fé Pavón (baroque mandolin), Manuel Muñoz (baroque guitar), Jean-Daniel Haro (viola da gamba), Jean-Christophe Leclère (harpsichord) In Domenico Scarlatti’s vast output of 555 keyboard sonatas, there are a small number of works that are especially interesting to musicologists because of characteristics such as figured bass, three- or four-movement structure, and distinctive melodic lines that are particularly appropriate for a high-pitched solo instrument. Some experts believe that these works were written for the violin; on this recording, after meticulous research and the discovery of an important new manuscript at the Bibliothèque de l’Arsenal in Paris, the members of Artemandoline propose the fascinating theory that the sonatas may have been composed for the mandolin. Featuring works ranging from the smaller-scale K77 to the ambitious and technically demanding K88 – which is extremely well suited to the mandolin thanks to its four-part chords and dynamic nuances – this disc offers a radical reinterpretation of this captivating music. Formed in 2001, the ensemble Artemandoline has worked tirelessly over the years towards the revival of the mandolin, giving new prominence to and widening the repertoire of this beautiful and unfairly neglected instrument. Artemandoline is acclaimed by audiences and critics alike for its rigorous and scrupulously researched, yet fresh, spontaneous and exciting performances. This is the ensemble’s first recording for Brilliant Classics; a second disc of mandolin music from 18th-century Paris will follow later in 2013. 00:00:00 Sonata in G Major, Kk. 91: I. Grave 00:01:24 Sonata in G Major, Kk. 91: II. Allegro 00:05:01 Sonata in G Major, Kk. 91: III. Grave 00:06:16 Sonata in G Major, Kk. 91: IV. Allegro 00:07:38 Sonata in E Minor, Kk. 81: I. Grave 00:09:19 Sonata in E Minor, Kk. 81: II. Allegro 00:12:24 Sonata in E Minor, Kk. 81: III. Grave 00:13:44 Sonata in E Minor, Kk. 81: IV. Allegro 00:15:15 Sonata in G Minor, Kk. 88: I. Grave 00:17:23 Sonata in G Minor, Kk. 88: II. Allegro moderato 00:19:55 Sonata in G Minor, Kk. 88: III. Allegro 00:21:24 Sonata in G Minor, Kk. 88: IV. Minuetto 00:23:18 Sonata in D Minor, Kk. 90: I. Grave 00:26:50 Sonata in D Minor, Kk. 90: II. Allegro 00:31:18 Sonata in D Minor, Kk. 90: III. Siciliana 00:32:12 Sonata in D Minor, Kk. 90: IV. Allegro 00:34:14 Sonata in D Minor, Kk. 77: I. Moderato cantabile 00:37:25 Sonata in D Minor, Kk. 77: II. Minuetto 00:39:43 Sonata in D Minor, Kk. 89: I. Allegro 00:43:12 Sonata in D Minor, Kk. 89: II. Grave 00:45:20 Sonata in D Minor, Kk. 89: III. Allegro
Leclère Claude Debussy Salle Poirel 2011
Hugues Leclère, piano Enregistré en public Salle Poirel à Nancy (France) le 18 décembre 2011. Recorded live at the Salle Poirel, Nancy (France), the december 18th 2011. www.hugues-leclere.com
Maurice Ravel Teresa Berganza Michel Plasson Leclère Camille Chevillard 1875 1903 1937
Maurice Ravel, 1875-1937, composed Shéhérazade, three poems by Tristan Klingsor (A.J. L. Leclère) for voice and orchestra, in 1903. More than an homage to Oriental Exotism, it is a fantasy on an enigmatic and sensual world. The third poem, L´indifférent, voluptuously floats in the ensued deception and restrained melancholy of a unconcluded meeting of the poet-composer-voice with a sexually ambiguous young stranger whose ´´eyes are soft as a girl´s``, whose ´´hips lightly sway because of his feminine and languid movements``. Conductor Camille Chevillard when he read the score and poem anxiously stated to Ravel ´´I sincerely hope that you will have it sung by a girl``! This vocal work raises many questions. Does it reveal something about Ravel´s discrete personnal life? Does it project a real longing into a fantasised exotic world so that it gets more accepted by the composer´s self and\or milieu? How deception and melancholy is treated here, in the echo of that fin de siécle? In respect to the last question about loss-deception-melancholy this song suggests a close off from the world. Melodically and harmonically the work finishes in the same way as it started. An oriental concept. An area, a topos of isolation and retirement is suggested where melancholy meets aesthetic pleasure. Could it be the french remedy against loss in that fin de siécle? Teresa Berganza and Michel Plasson with his Orchestre Du Capitole de Toulouse offer us an impressionist version: suggestive and questionning. Flute, Philippe Boucly. My photos were taken in Europe and South America. Enjoy. Tes yeux sont doux comme ceux d'une fille, Jeune étranger, et la courbe fine De ton beau visage de duvet ombragé Est plus séduisante encore de ligne. Ta lèvre chante sur le pas de ma porte Une langue inconnue et charmante Comme une musique fausse. Entre! Et que mon vin te réconforte... Mais non, tu passes Et de mon seuil je te vois t'éloigner Me faisant un dernier geste avec grâce Et la hanche légèrement ployée Par ta démarche féminine et lasse...
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