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16,95 €

Claude Debussy
Mélodies


REF.: A 446
EAN 13: 3760195734469
24 horas: Si realiza el pedido hoy, este producto estará listo para ser enviado el miércoles 25/09/2019

Las obras para piano de Claude Debussy conforman un vasto corpus de una calidad tan sobresaliente y revolucionaria que bien puede considerarse como el más importante compuesto durante el siglo pasado. Acompañado en esta ocasión por el bajo-barítono Thierry Félix, Stany David Lasry Thierry nos regala este manojo de piezas que rezuma belleza y temprana madurez.

FECHA DE PUBLICACIÓN
01/03/2018

INTÉRPRETES
Félix Thierry, bajo-barítono
Stan David Lasry, piano 
Erard concert piano [48878], 1874

DATOS DE PRODUCCIÓN
Recorded 20-24 November 1995 at the Château de Champs-sur-Marne, France
Sound engineers: Michel Bernstein and Charlotte Gilart de Kéranflèc’h —
Digital editing: Charlotte Gilart de Kéranflèc’h
Production: Michel Bernstein

CONTENIDO
Claude Debussy (1862-1918): 

Mélodies

1 MANDOLINE (Paul Verlaine) [Lesure 29]    1’12
2 DANS LE JARDIN (Paul Gravollet) [Lesure 78]    2’00

TROIS POÈMES DE SAGESSE (Paul Verlaine) [Lesure 81]
3 I. La mer est plus belle que les cathédrales    2’01
4 II. Le son du cor s’afflige vers les bois    2’49
5 III. L’échelonnement des haies mouton à l’infini    1’14

TROIS CHANSONS DE FRANCE [Lesure 102]
6 I. Rondel [Le temps a laissié son manteau] (Charles d’Orléans)    0’59
7 II. La grotte (Tristan L’Heremite)    2’25
8 III. Rondel [Pour ce que Plaisance est morte]    2’12

FÊTES GALANTES - série II (Paul Verlaine) [Lesure 104]
9 I. Les Ingénus    1’56
10 II. Le Faune    1’42
11 III. Colloque sentimental    3’42

LE PROMENOIR DES DEUX AMANTS (Tristan L’Heremite) [Lesure 118]
12 I. Auprès de cette grotte sombre    2’17
13 II. Crois mon conseil, chère Climène    1’46
14 III. Je tremble en voyant ton visage    1’43

TROIS BALLADES DE FRANÇOIS VILLON [Lesure 119]
15 I. Ballade de Villon à s’amye    4’14
16 II. Ballade que Villon feit a la requeste de sa mere pour prier Nostre Dame    4’01
17 III. Ballade des femmes de Paris    1’37

TROIS POÈMES DE STÉPHANE MALLARMÉ [Lesure 127]
18 I. Soupir    2’39
19 II. Placet futile    2’05
20 III. Éventail    2’22

21 NOËL DES ENFANTS QUI N’ONT PLUS DE MAISONS (Claude Debussy) [Lesure 139]    2’07

1 CD - DDD - 49’00

RESEÑA (La Quinta de Mahler)

Debussy composed nearly ninety melodies (art songs), spanning more than forty years. It would indeed seem that this genre was a vehicle chosen by the young Debussy for the development of a new form, and vocal works were always to have a special place in his output

‘Take hold of eloquence and wring its neck’ — this motto of Verlaine’s, a poet whom Debussy always admired and frequently set to music, could be used to define his whole oeuvre, and his mélodies in particular. For along with his own inclinations, he was guided by the particular requirements of the French language, whose stressed syllables are never strongly accentuated, and so must be treated with suitable discretion if the spirit of the texts is not to be betrayed. It was only his genius for rhythmical inno vation, freeing him from symmetrical regularity, which enabled Debussy to create an infinitely flexible framework for his melodic recitative, which general ly avoids large intervals. And so it is that in these works the eminently French art of the nuance reigns supreme.

Debussy places the greatest demands on the accompanist, and indeed many of the accompaniments are virtually self-sufficient compositions in their own right. But in going through his songs one can also fol low the composer’s harmonic development, right up to the most daring refinements of his last years, in which his advances sometimes even took him as far as atonality, albeit of a fundamentally different kind from Schönberg’s.

The present recording includes Debussy’s last sixteen songs — preceded by Mandoline and four songs com posed in his early maturity —, i.e. all those composed after he completed Pelléas et Mélisande. It is significant that two cycles to works by modem poets — Verlaine and Mallarmé - should act as a frame for three cycles to poets of the past, Charles d’Orléans, Tristan L’Her mite and François Villon, and this has a bearing on the musical languages used in the respective cycles.

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