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Cast:
Marie-Paule Dotti, soprano
Guillemette Laurens, mezzo-soprano
Luca Lombardo, tenor
Nicolas Test�, bass
Coro della Radio Svizzera, Lugano
Orchestra della Svizzera Italiana
Diego Fasolis, conductor
Tracklisting:
01-08. Messe de Requiem, Op. 54
09. Romance du soir, Op. 118
10. Les Fleurs et les arbres, Op. 68 No. 2
11. Des pas dans l�all�e, Op. 141 No. 1
12. Calme des nuits, Op. 68 No. 1
13. Salut au Chevalier Printemps, Op. 151 No. 2
14. Les Guerriers, Op. 84
15. Pastorale
16. Les Marins de Kermor, Op. 71 No. 1
17. Aux conqu�rants de l�air, Op. 164
18. Chanson de grand-p�re, Op. 53 No. 1
https://mega.co.nz/#!HoBAwQpR!WYWpNAK1wRREvFj-z4j78GBhSgNEj5mOZFINzY4i82s
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The acclaimed combination of Diego Fasolis and Swiss Radio present Camille Saint-Sa�ns’s Partsongs and Requiem Mass.
This is the only available recording of the Requiem Mass.
Saint-Sa�ns’s Requiem is a highly appealing work with beautiful and complex harmonies. There is plenty of colour, too – as one would expect from this inexhaustibly inventive opera composer – but also sincerity and gravitas.
Previous releases from this team have been warmly received by critics and public alike.
For many years Saint-Sa�ns earned a living as organist of the Church of the Madeleine in Paris. He was not a religious man, and indeed spoke of his ‘repugnance for religious ceremonial’. In the spring of 1877 he finally felt able to escape the appointment and support himself independently. At the same time, the lease on his flat expired and he was helped to find a new apartment by a wealthy friend and admirer, Albert Libon.
At the end of May, Saint-Sa�ns returned from a concert tour to find that Libon had died and left him 100,000 francs. The will, dated several years before, stated that the bequest was intended to free Saint-Sa�ns from his appointment at Madeleine. Libon had also included the condition that Saint-Sa�ns should compose a Requiem to be performed on the anniversary of his death. Although Libon had later deleted this condition, Saint-Sa�ns felt such a keen debt of gratitude that he nevertheless composed such a piece. He conducted the first performance of his Requiem on the morning of 22 May, just two days after the anniversary of Libon’s death, with Charles Widor as the organist and vocal soloists from the Paris opera.
One cannot help but wonder if Saint-Sa�ns came to regret his Requiem. He must surely have thought of Mozart (whose Requiem had presaged his own death) when, six days later, his two-year old son fell to his death out of the window of their new apartment. His other son, a baby of only six months, died just a few weeks later through illness. Saint-Sa�ns’s marriage did not survive the devastation. He parted from his wife who retreated to the country and only returned decades later, shrouded in black, at Saint-Sa�ns’s own grandiose funeral – once again back at the Madeleine.