legoru
04-19-2014, 07:26 AM
Ernest Bloch - Hiver-Printemps, Poemes d'Automne, In the Night, Deux Psaumes 114-137, Psaume 22
On CD presents early orchestral and orchestral-vocal works by Ernest Bloch composed them at the beginning of the century in Geneva. Three of them - symphonic poem "Winter-Spring" (1904-1905), "Autumn poem" for mezzo-soprano and orchestra (1906), and adjacent to it in style Love poem "In the Night" (1922) written in the style of French Impressionism, in others - "Two Psalms 114-137" for soprano and orchestra (1912-14) and "22nd Psalm" for baritone and orchestra (1913-14), he refers to their national roots.
Ernest Bloch (1880-1959)
Hiver-Printemps, poemes symphoniques (1905)
01 I. Hiver
02 II. Printemps
Po�mes d'Automne, pour mezzo-soprano et orchestre (1906)
03 1. La Vagabonde
04 2. L'Abri
05 3. Le Declin
06 4. Invocation
07 In the Night, love poem pour orchestre (1922)
Deux Psaumes, pour soprano et orchestre (1912-14)
08 Prelude
09 I. Psaume 114
10 II. Psaume 137
11 Psaume 22, pour baritone et orchestre (1913-14)
Brigitte Balleys, mezzo-soprano (3-6)
Mireille Delunsch, soprano (9-10)
Vincent Le Texier, bariton (11)
Orchestre Philharmonique du Luxembourg
David Shallon, direction
rec Luxembourg, July-September 1999
https://mega.co.nz/#!xNckRRTI!WmznCks_Jest_QOWJnzE9jCSbyE6JLlzICet5UP bT2I
FLAC+COVERS, 284MB,
Hiver-Printemps: The Debussian snowy climax of Hiver rises from tentative strands and threads of reflective and uncertain mien. It is like a chilled Tchaikovskian snow scene with the susurration of Rachmaninov's Isle of the Dead and the mystery of The Firebird's lowest registers. The musette-style naivet� of Printemps can be grouped with The Song Of My Heart from Frank Bridge's orchestral Jefferies Poems of 1915.
Po�mes D'Automne can be thought of as a Ravelian song-cycle profuse compounded with the profuse 'undergrowth' of Havergal Brian's Wine of Summer symphony. It is often dark and has those semitic 'wails' typifying Schelomo. The third of the four songs is a calm march-exequy for beauty's twilight. The cycle ends with florid Invocation which has a grand swinging stride recalling the final moments of Ma Mere l'Oye.
In the Night is the one late work in the company of so many early ones. It is an orchestration of a piece, originally for violin and piano, and in it Bloch explores the sombre touching on the darker sea-space passages in Debussy's La Mer.
To bring the disc to a close there are three psalm settings. The Two Psalms (114 and 137) are in three movements: a prelude and two settings for soprano. The Prelude's confident truculence melts in the face romantic mists closer to early Schoenberg. The settings sung by Brigitte Balleys with visceral engagement, operatic spirit and petulant vehemence are amongst his 'Jewish' works - fiercely devotional and in the case of Psalm 137 ravishingly rhapsodic. Psaume 22 has the trademark brassy flourish conjuring the exotic barbarity of Solomon's court as well as religious devotion set off by the discomfiting edge of danger. Le Texier tends towards vibrato under strain but this is a small price to pay for yet more 'operatic' Bloch. Le Texier successfully suggests the metier of Au Fond Du Temple Saint.
---------- Post added at 12:26 AM ---------- Previous post was at 12:18 AM ----------
This Cd for my friend Bohuslav ;) And for all! Enjoy!
On CD presents early orchestral and orchestral-vocal works by Ernest Bloch composed them at the beginning of the century in Geneva. Three of them - symphonic poem "Winter-Spring" (1904-1905), "Autumn poem" for mezzo-soprano and orchestra (1906), and adjacent to it in style Love poem "In the Night" (1922) written in the style of French Impressionism, in others - "Two Psalms 114-137" for soprano and orchestra (1912-14) and "22nd Psalm" for baritone and orchestra (1913-14), he refers to their national roots.
Ernest Bloch (1880-1959)
Hiver-Printemps, poemes symphoniques (1905)
01 I. Hiver
02 II. Printemps
Po�mes d'Automne, pour mezzo-soprano et orchestre (1906)
03 1. La Vagabonde
04 2. L'Abri
05 3. Le Declin
06 4. Invocation
07 In the Night, love poem pour orchestre (1922)
Deux Psaumes, pour soprano et orchestre (1912-14)
08 Prelude
09 I. Psaume 114
10 II. Psaume 137
11 Psaume 22, pour baritone et orchestre (1913-14)
Brigitte Balleys, mezzo-soprano (3-6)
Mireille Delunsch, soprano (9-10)
Vincent Le Texier, bariton (11)
Orchestre Philharmonique du Luxembourg
David Shallon, direction
rec Luxembourg, July-September 1999
https://mega.co.nz/#!xNckRRTI!WmznCks_Jest_QOWJnzE9jCSbyE6JLlzICet5UP bT2I
FLAC+COVERS, 284MB,
Hiver-Printemps: The Debussian snowy climax of Hiver rises from tentative strands and threads of reflective and uncertain mien. It is like a chilled Tchaikovskian snow scene with the susurration of Rachmaninov's Isle of the Dead and the mystery of The Firebird's lowest registers. The musette-style naivet� of Printemps can be grouped with The Song Of My Heart from Frank Bridge's orchestral Jefferies Poems of 1915.
Po�mes D'Automne can be thought of as a Ravelian song-cycle profuse compounded with the profuse 'undergrowth' of Havergal Brian's Wine of Summer symphony. It is often dark and has those semitic 'wails' typifying Schelomo. The third of the four songs is a calm march-exequy for beauty's twilight. The cycle ends with florid Invocation which has a grand swinging stride recalling the final moments of Ma Mere l'Oye.
In the Night is the one late work in the company of so many early ones. It is an orchestration of a piece, originally for violin and piano, and in it Bloch explores the sombre touching on the darker sea-space passages in Debussy's La Mer.
To bring the disc to a close there are three psalm settings. The Two Psalms (114 and 137) are in three movements: a prelude and two settings for soprano. The Prelude's confident truculence melts in the face romantic mists closer to early Schoenberg. The settings sung by Brigitte Balleys with visceral engagement, operatic spirit and petulant vehemence are amongst his 'Jewish' works - fiercely devotional and in the case of Psalm 137 ravishingly rhapsodic. Psaume 22 has the trademark brassy flourish conjuring the exotic barbarity of Solomon's court as well as religious devotion set off by the discomfiting edge of danger. Le Texier tends towards vibrato under strain but this is a small price to pay for yet more 'operatic' Bloch. Le Texier successfully suggests the metier of Au Fond Du Temple Saint.
---------- Post added at 12:26 AM ---------- Previous post was at 12:18 AM ----------
This Cd for my friend Bohuslav ;) And for all! Enjoy!
