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Faure & Saint-Saens - Oeuvres pour violon et orchestre (2012), Deborah Nemtanu, Orchestre de chambre de Paris, Thomas Zehetmair; Mirare, Studio Master 24bit 96kHz |
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Posted: 26-12-2013, 15:38
(post 1, #1085915)
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Personnel: Orchestre de chambre de Paris Deborah Nemtanu, violon Thomas Zehetmair, direction Tracklisting: Camille Saint-Saëns 1 - Introduction et Rondo capriccioso en la mineur opus 28 9’22 Gabriel Fauré Pelléas et Mélisande, suite opus 80 2 - Prélude - Quasi adagio 6’08 3 - Fileuse - Andantino quasi allegretto 2’29 4 - Sicilienne - Allegretto molto moderato 4’08 5 - La Mort de Mélisande - Molto adagio 4’50 Camille Saint-Saëns 6 - Concerto pour violon et orchestre n°1 en la majeur opus 20 12’05 Camille Saint-Saëns 7 - Romance pour violon et orchestre en do majeur opus 48 6’45 Gabriel Fauré 8 - Berceuse opus 16 3’42 Saint-Saëns and Fauré, two leading representatives of Late Romanticism, teacher and pupil linked by the same musical ideal. Both of them, with the fire of youth or in their full maturity, produced tender, luminous works. Confronted with Wagnerian mists, they brightened the French musical landscape. At her desk as leader of the Orchestre de Chambre de Paris or as soloist, the violinist Deborah Nemtanu presents her vision of the last French Romantics. With a new conductor, Thomas Zehetmair, and a new name, the Orchestre de Chambre de Paris gives carte blanche to its leader, Deborah Nemtanu. Whether playing within the orchestra or as a soloist, the young violinist retraces the teacher-pupil link between Saint-Saëns and Fauré. Deborah Nemtanu has recorded a rare work by the former, the Concerto op.20, a youthful composition that reveals a Romantic, exalted, impetuous Saint-Saëns. Mirroring the work of this youthful master is the plenitude of Fauré in the Pelléas et Mélisande Suite, which the Orchestre de Chambre de Paris has played for many years. The French spirit of this disc would not be complete without the crackling virtuosity of the Saint-Saëns Introduction et Rondo Capriccioso and the gentle mood of the Romance and Berceuse of the two composers. Music that offers bright skies and an escape from Wagnerian mists and Brahmsian polyphonies. Disc reviews by James Manheim "AMG" Here's a lovely little recital of French music of modest scale, one that would have been prized in its own time and should still be in ours. The combination of Camille Saint-Saëns and his student Gabriel Fauré is an effective one, with the showy strains of Saint-Saëns' Introduction et rondo capriccioso in A minor, Op. 28, a perfect virtuoso exploitation of classical French technique, setting off the quieter and more involved and reflective music of Fauré's incidental music to Pelléas et Mélisande. French violinist Deborah Nemtanu and conductor Thomas Zehetmair, a violinist himself, approach the project in a collaborative spirit, and the music seems both natural and expertly modulated at every turn. Among the attractions is the rarely heard Violin Concerto No. 1 in A major, Op. 20, of Saint-Saëns; this single-movement piece has the quality of a rhapsody, with musical ideas appearing in quick succession. Nemtanu gives it an extremely sensitive performance. The Romance for violin and orchestra in C major, Op. 48, of Saint-Saëns, and the exquisite Berceuse, Op. 16, of Fauré reestablish the balance of outward and inward in a recital that will stay in your head for hours or days, all the more surprisingly because of the comparative obscurity of the material. |
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