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No, No, Gershwin didn’t write three preludes for saxophone and piano; he has admittedly written several preludes for piano (in the desire of writing twenty-four in the end, like Chopin or Rachmaninoff, but the project was never finished), among which three have been gathered in a collection. And of course, soon many arrangement for various instruments have flourished, like this one for saxophone and piano (whose author isn’t specified); you will note, with the piano partition at hand, that saxophonist Asya Fateyeva takes a lot of musical liberties, which only does justice to the music. However, Poulenc has well and truly written a Sonata for horn, trumpet and trombone in 1923, one example of the most facetious Poulenc, the most “bad boyish”; as well as in 1926, a Trio oboe, bassoon and piano, somewhat borrowing to Stravinsky. Marc Eychenne, a French composer born in 1933 in a then French Algeria, doesn’t hesitate to incorporate elements of folkloric essence—maybe imaginary?—in his Cantilene and dance for violin, saxophone and piano from 1961, deliberately written in a neo-classical way: it’s a rare composer that is worth discovering. Lutoslawski doesn’t need any introduction. His Partita for violin and piano from 1984 closely fits the neo-Baroque format of the rest, but none of the language; this is an incredibly original partition. All those works have been recorded live during the Chamber music festival directed by Lars Vogt that took place in June 2017 in the very singular hydroelectric plant of Heimach in Germany, now a summit of culture even if the turbines are still working. It must be said that the building from 1905 has been built in the purest Jugendstil—the German Art Nouveau—, including the machinery whose beauty is surreal. © SM/Qobuz
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George Gershwin, Composer - Lars Vogt, Piano, MainArtist, AssociatedPerformer - Asya Fateyeva, Saxophone, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
George Gershwin, Composer - Lars Vogt, Piano, MainArtist, AssociatedPerformer - Asya Fateyeva, Saxophone, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
George Gershwin, Composer - Lars Vogt, Piano, MainArtist, AssociatedPerformer - Asya Fateyeva, Saxophone, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Francis Poulenc, Composer - Emily White, Trombone, MainArtist, AssociatedPerformer - Sybille Mahni, Horn, MainArtist, AssociatedPerformer - Peter Dörpinghaus, Trumpet, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Francis Poulenc, Composer - Emily White, Trombone, MainArtist, AssociatedPerformer - Sybille Mahni, Horn, MainArtist, AssociatedPerformer - Peter Dörpinghaus, Trumpet, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Francis Poulenc, Composer - Emily White, Trombone, MainArtist, AssociatedPerformer - Sybille Mahni, Horn, MainArtist, AssociatedPerformer - Peter Dörpinghaus, Trumpet, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Marc Eychenne, Composer - Florian Donderer, Violin, MainArtist, AssociatedPerformer - Asya Fateyeva, Saxophone, MainArtist, AssociatedPerformer - Kiveli Dörken, Piano, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Marc Eychenne, Composer - Florian Donderer, Violin, MainArtist, AssociatedPerformer - Asya Fateyeva, Saxophone, MainArtist, AssociatedPerformer - Kiveli Dörken, Piano, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Lars Vogt, Piano, MainArtist, AssociatedPerformer - Witold Lutosławski, Composer - Anna Reszniak, Violin, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Lars Vogt, Piano, MainArtist, AssociatedPerformer - Witold Lutosławski, Composer - Anna Reszniak, Violin, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Lars Vogt, Piano, MainArtist, AssociatedPerformer - Witold Lutosławski, Composer - Anna Reszniak, Violin, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Lars Vogt, Piano, MainArtist, AssociatedPerformer - Witold Lutosławski, Composer - Anna Reszniak, Violin, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Lars Vogt, Piano, MainArtist, AssociatedPerformer - Witold Lutosławski, Composer - Anna Reszniak, Violin, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Francis Poulenc, Composer - Theo Plath, Bassoon, MainArtist, AssociatedPerformer - Steven Hudson, Oboe, MainArtist, AssociatedPerformer - Kiveli Dörken, Piano, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Francis Poulenc, Composer - Theo Plath, Bassoon, MainArtist, AssociatedPerformer - Steven Hudson, Oboe, MainArtist, AssociatedPerformer - Kiveli Dörken, Piano, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Francis Poulenc, Composer - Theo Plath, Bassoon, MainArtist, AssociatedPerformer - Steven Hudson, Oboe, MainArtist, AssociatedPerformer - Kiveli Dörken, Piano, MainArtist, AssociatedPerformer
℗ 2018 Deutsche Grammophon GmbH, Berlin
Presentación del Álbum
No, No, Gershwin didn’t write three preludes for saxophone and piano; he has admittedly written several preludes for piano (in the desire of writing twenty-four in the end, like Chopin or Rachmaninoff, but the project was never finished), among which three have been gathered in a collection. And of course, soon many arrangement for various instruments have flourished, like this one for saxophone and piano (whose author isn’t specified); you will note, with the piano partition at hand, that saxophonist Asya Fateyeva takes a lot of musical liberties, which only does justice to the music. However, Poulenc has well and truly written a Sonata for horn, trumpet and trombone in 1923, one example of the most facetious Poulenc, the most “bad boyish”; as well as in 1926, a Trio oboe, bassoon and piano, somewhat borrowing to Stravinsky. Marc Eychenne, a French composer born in 1933 in a then French Algeria, doesn’t hesitate to incorporate elements of folkloric essence—maybe imaginary?—in his Cantilene and dance for violin, saxophone and piano from 1961, deliberately written in a neo-classical way: it’s a rare composer that is worth discovering. Lutoslawski doesn’t need any introduction. His Partita for violin and piano from 1984 closely fits the neo-Baroque format of the rest, but none of the language; this is an incredibly original partition. All those works have been recorded live during the Chamber music festival directed by Lars Vogt that took place in June 2017 in the very singular hydroelectric plant of Heimach in Germany, now a summit of culture even if the turbines are still working. It must be said that the building from 1905 has been built in the purest Jugendstil—the German Art Nouveau—, including the machinery whose beauty is surreal. © SM/Qobuz
Acerca del álbum
- 1 disco(s) - 16 pista(s)
- Duración total: 00:56:03
- Artistas principales: Asya Fateyeva Lars Vogt
- Compositor: Various Composers
- Sello: Cavi-Music
- Género Clásica
© 2017 Deutschlandradio / Deutsche Grammophon GmbH, Berlin ℗ 2018 Deutsche Grammophon GmbH, Berlin
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