無制限ストリーミング再生
このアルバムをアプリから高音質で聴く
無料体験をはじめる このアルバムを再生するこのアルバムはQobuzアプリのサブスクリプションでお楽しみ下さい
登録このアルバムはQobuzアプリのサブスクリプションでお楽しみ下さい
デジタルダウンロード
このアルバムはお客様のニーズに合わせて様々なフォーマットで購入やダウンロードすることができます
対応言語:英語
Winning the Prix de Rome, a subsidized residency at the Villa Medici giving the artist four or five years to compose, was a rite of passage for French composers for much of the 19th century. The process of competing for the prize, and then producing a required number of works while in Rome, created a substantial body of music, particularly since composers frequently had to make a number of attempts before winning. This two-CD set includes most of the surviving music Debussy wrote for the competition and as part of his residency. Three of the works, L'Enfant prodigue, his winning 1884 cantata, and Printemps and La damoiselle élue, which he wrote in Rome in 1887 and 1888, are fairly familiar, and recorded with some frequency, but the remaining pieces are obscure and some are recorded here for the first time.
The earliest work is Salut Printemps, the qualifying, first-round piece for the 1882 prize, an attractive and warmly lyrical piece for soprano, women's chorus, and orchestra. Le gladiateur, a dramatic cantata that was the runner-up for the 1883 prize, is an entirely competent piece, the work of a very talented student, but not something likely to inspire repeated hearings. The very next year, with the qualifying piece (Le Printemps, for chorus and piano) and the cantata L'Enfant prodigue, which won Debussy the Prix, he emerged as a composer with something to say, and it's possible to hear his unique voice developing. He was doing something harmonically new and out of the ordinary, so it's no wonder the more conservative judges were troubled by his win. Light years beyond his work of the previous year in its level of inspiration, technical assurance, and dramatic effect, it's easy to see why the cantata remains in the repertoire, and its opening soprano solo is a staple of vocal recitals. He had fully hit his stride, and La damoiselle élue and Printemps demonstrate his growing individuality.
It's valuable to have this collection tracing Debussy's early development, but the set has some drawbacks. All of the works except for L'Enfant prodigue are performed with piano, either two- or four-hands. Debussy claimed that the full score of Printemps was lost in a fire, and that only the piano reduction survived. In 1912, he had Henri Büsser orchestrate the work under his supervision, and it's this version that is most performed today. The piano version is interesting as a novelty, but not much more since the work is primarily atmospheric, and much of its appeal lies in its orchestral colors. The remaining works were written for orchestra, so it must have been a matter of economics to have them accompanied by piano on this recording. Conductor Hervé Niquet is a specialist in the French Baroque, so he seems an unlikely choice as the director, but he manages very well. The Brussels Philharmonic, the Flemish Radio Choir, the pianists, and the vocal soloists all do a fine job, but these are not knock-'em-dead performances. The album will be a must-have for Debussy devotees, but general audiences with an interest in Debussy would do better to seek out top-flight performances of L'Enfant prodigue, La damoiselle élue, and Printemps, of which there are many.
© TiVo
現在、試聴中です。
無制限ストリーミングプランで1億曲以上の楽曲を聴くことができます。
無制限のストリーミング プランで、このプレイリストと1億曲以上の楽曲を聴くことができます。
¥1,280/ 月から
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Flemish Radio Choir, Choir - Jean-Francois Heisser, piano - Marie-Josephe Jude, piano
Herve Niquet, Conductor - Sophie Marilley, mezzo-soprano - Flemish Radio Choir, Choir - Jean-Francois Heisser, piano
Disc 2
Herve Niquet, Conductor - Flemish Radio Choir, Choir - Jean-Francois Heisser, piano
Herve Niquet, Conductor - Flemish Radio Choir, Choir - Jean-Francois Heisser, piano
Herve Niquet, Conductor - Flemish Radio Choir, Choir - Jean-Francois Heisser, piano - Marie-Josephe Jude, piano
Herve Niquet, Conductor - Flemish Radio Choir, Choir - Jean-Francois Heisser, piano - Marie-Josephe Jude, piano
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
Herve Niquet, Conductor - Herve Niquet, Conductor - Alain Buet, bass - Bernard Richter, tenor - Brussels Philharmonic Orchestra, Orchestra
アルバム·レビュー
Winning the Prix de Rome, a subsidized residency at the Villa Medici giving the artist four or five years to compose, was a rite of passage for French composers for much of the 19th century. The process of competing for the prize, and then producing a required number of works while in Rome, created a substantial body of music, particularly since composers frequently had to make a number of attempts before winning. This two-CD set includes most of the surviving music Debussy wrote for the competition and as part of his residency. Three of the works, L'Enfant prodigue, his winning 1884 cantata, and Printemps and La damoiselle élue, which he wrote in Rome in 1887 and 1888, are fairly familiar, and recorded with some frequency, but the remaining pieces are obscure and some are recorded here for the first time.
The earliest work is Salut Printemps, the qualifying, first-round piece for the 1882 prize, an attractive and warmly lyrical piece for soprano, women's chorus, and orchestra. Le gladiateur, a dramatic cantata that was the runner-up for the 1883 prize, is an entirely competent piece, the work of a very talented student, but not something likely to inspire repeated hearings. The very next year, with the qualifying piece (Le Printemps, for chorus and piano) and the cantata L'Enfant prodigue, which won Debussy the Prix, he emerged as a composer with something to say, and it's possible to hear his unique voice developing. He was doing something harmonically new and out of the ordinary, so it's no wonder the more conservative judges were troubled by his win. Light years beyond his work of the previous year in its level of inspiration, technical assurance, and dramatic effect, it's easy to see why the cantata remains in the repertoire, and its opening soprano solo is a staple of vocal recitals. He had fully hit his stride, and La damoiselle élue and Printemps demonstrate his growing individuality.
It's valuable to have this collection tracing Debussy's early development, but the set has some drawbacks. All of the works except for L'Enfant prodigue are performed with piano, either two- or four-hands. Debussy claimed that the full score of Printemps was lost in a fire, and that only the piano reduction survived. In 1912, he had Henri Büsser orchestrate the work under his supervision, and it's this version that is most performed today. The piano version is interesting as a novelty, but not much more since the work is primarily atmospheric, and much of its appeal lies in its orchestral colors. The remaining works were written for orchestra, so it must have been a matter of economics to have them accompanied by piano on this recording. Conductor Hervé Niquet is a specialist in the French Baroque, so he seems an unlikely choice as the director, but he manages very well. The Brussels Philharmonic, the Flemish Radio Choir, the pianists, and the vocal soloists all do a fine job, but these are not knock-'em-dead performances. The album will be a must-have for Debussy devotees, but general audiences with an interest in Debussy would do better to seek out top-flight performances of L'Enfant prodigue, La damoiselle élue, and Printemps, of which there are many.
© TiVo
アルバムについて
- 組み枚数 : 2ディスク - 収録数 : 21曲
- 合計収録時間 : 01:41:36
- 1 デジタルブックレット
- メインアーティスト : Hervé Niquet
- 作曲家 : Various Composers
- レーベル : Glossa
- ジャンル: クラシック
Qobuzで購入する理由...
-
音楽をダウンロードする
ハイレゾを含むアルバムや楽曲を1曲ずつ購入できます。
-
DRMフリー
ダウンロードしたファイルは使用回数の制限なく、あなたのものです。 何度でもダウンロードすることができます。
-
自分に最適なフォーマットを選ぶ
購入した楽曲は、ニーズに応じて様々なフォーマット(FLAC, ALAC, WAV, AIFF...)でダウンロードすることができます。
-
購入した音楽をアプリで聴く
スマートフォン、タブレット、パソコンでも、各デバイス向けのQobuzアプリをダウンロードすれば、購入した音楽をどこでも聴くことができます。