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Florentine Mulsant|Florentine Mulsant: Chamber Music

Florentine Mulsant: Chamber Music

Florentine Mulsant

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Though composer Florentine Mulsant's works are all quite unique and individual, she does a great deal to tip her hat to composers and visual artists of the past. Chamber music represents a large portion of her output to date, and this album showcases four of these works. The Concert Sonata for solo violin is a very "visual" piece of music, and the descriptions offered by the composer in the liner notes help immensely in trying to understand what she is trying to portray. The use of scordatura is reminiscent of Bartók, and the musical forms used in the movements are taken directly from the Baroque. The Piano Trio, Op. 23, was written in tribute to Robert Schumann incorporates some of his compositional nuance, and the Sonata for Solo Cello makes use of Bach's (and many since) incorporation of a person's name into the musical notes of a piece. Mulsant's intricate counterpoint, creative use of chromaticism, and frequent use of Baroque techniques make it clear where much of her inspiration is drawn from. Music of this level demands the utmost caliber of performance. The artists heard on this album deliver; intonation is extremely accurate, ensemble in the trio is tight, and recorded sound quality is quite nice. Most importantly, perhaps, is that the musicians seem to help Mulsant make her music understandable and easy to follow.

© TiVo

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Florentine Mulsant: Chamber Music

Florentine Mulsant

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1
Sonate de concert pour violon, op. 19: I. corail
00:06:20

Florentine Mulsant, Performer, Composer - Lyonel Schmit, Performer

2006 AR RE-SE 2006 AR RE-SE

2
Sonate de concert pour violon, op. 19: Ii. dédale
00:05:41

Florentine Mulsant, Performer, Composer - Lyonel Schmit, Performer

2006 AR RE-SE 2006 AR RE-SE

3
Sonate de concert pour violon, op. 19: Iii. passacaille
00:06:43

Florentine Mulsant, Performer, Composer - Lyonel Schmit, Performer

2006 AR RE-SE 2006 AR RE-SE

4
Sonate pour piano et violo, op. 21
00:15:28

Florentine Mulsant, Performer, Composer - Lyonel Schmit, Performer - Véronique Bourlet, Performer - Fabrice Bourlet, Performer

2006 AR RE-SE 2006 AR RE-SE

5
Trio pour piano, violon et violoncelle, op. 23: 1st movement
00:13:17

Florentine Mulsant, Performer, Composer - Lyonel Schmit, Performer - Véronique Bourlet, Performer - Fabrice Bourlet, Performer

2006 AR RE-SE 2006 AR RE-SE

6
Trio pour piano, violon et violoncelle, op. 23: 2nd movement
00:05:18

Florentine Mulsant, Performer, Composer - Lyonel Schmit, Performer - Véronique Bourlet, Performer - Fabrice Bourlet, Performer

2006 AR RE-SE 2006 AR RE-SE

7
Trio pour piano, violon et violoncelle, op. 23: 3rd movement
00:06:43

Florentine Mulsant, Performer, Composer - Lyonel Schmit, Performer - Véronique Bourlet, Performer - Fabrice Bourlet, Performer

2006 AR RE-SE 2006 AR RE-SE

8
Sonate pour violoncelle, op. 27: I. très expressif
00:05:37

Florentine Mulsant, Performer, Composer - Henri Demarquette, Performer

2006 AR RE-SE 2006 AR RE-SE

9
Sonate pour violoncelle, op. 27: Ii. vif, mordant
00:03:25

Florentine Mulsant, Performer, Composer - Henri Demarquette, Performer

2006 AR RE-SE 2006 AR RE-SE

10
Sonate pour violoncelle, op. 27: Iii. tiento
00:08:33

Florentine Mulsant, Performer, Composer - Henri Demarquette, Performer

2006 AR RE-SE 2006 AR RE-SE

Chronique

Though composer Florentine Mulsant's works are all quite unique and individual, she does a great deal to tip her hat to composers and visual artists of the past. Chamber music represents a large portion of her output to date, and this album showcases four of these works. The Concert Sonata for solo violin is a very "visual" piece of music, and the descriptions offered by the composer in the liner notes help immensely in trying to understand what she is trying to portray. The use of scordatura is reminiscent of Bartók, and the musical forms used in the movements are taken directly from the Baroque. The Piano Trio, Op. 23, was written in tribute to Robert Schumann incorporates some of his compositional nuance, and the Sonata for Solo Cello makes use of Bach's (and many since) incorporation of a person's name into the musical notes of a piece. Mulsant's intricate counterpoint, creative use of chromaticism, and frequent use of Baroque techniques make it clear where much of her inspiration is drawn from. Music of this level demands the utmost caliber of performance. The artists heard on this album deliver; intonation is extremely accurate, ensemble in the trio is tight, and recorded sound quality is quite nice. Most importantly, perhaps, is that the musicians seem to help Mulsant make her music understandable and easy to follow.

© TiVo

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