Classic 100 - France Booklet
Transcription
Classic 100 - France Booklet
480 6883 AS VOTED BY LISTENERS TO ABC CLASSIC FM SELECTED HIGHLIGHTS Why a Classic 100 about the music of France? Since ABC Classic FM’s first Classic 100 in 2001, we’ve been asking our listeners to tell us about their favourite music in all sorts of categories. You’ve voted for your favourite piano works, symphonies, chamber music, opera and concertos. For Mozart’s 250th birthday in 2006, the Classic 100 was devoted entirely to a celebration of his music. And in 2011 we explored the music of the 20th century. In 2012 we’ve taken the Classic 100 in a new direction with a focus on the music of one country and one culture. The idea came up when we were thinking about how to celebrate the sesquicentenary of the birth of Claude Debussy (born 22 August 1862) and the key role he played in the story of French music. We soon realised there was so much great music to celebrate by so many French composers, and we decided to make the music of France the subject of our 2012 Classic 100. Ask someone to list the great composers, and names from the German tradition tend to top the list – usually Bach, Mozart and Beethoven. French composers are often in the shadow of this pantheon of the greats. In fact the composers of France have lived next door to two dominating musical cultures, the German and the Italian. Naturally they were influenced by both, but French music has also frequently defined itself in opposition to those neighbouring traditions. Opera in France, for example, established by the Italian-born Lully in the 1670s, continually absorbed German and Italian influences into a distinctively French tradition. Sometimes those influences were productively repelled: the Wagner operas to which Debussy was devoted as a young man had to be “dispensed with”, he said, in order to create his own operatic masterpiece, Pelleas and Melisande. Berlioz said that discovering the music of 2 Beethoven was like ‘a thunderclap’. Hearing the ‘Eroica’ Symphony propelled him into writing his own Symphonie fantastique, which took the symphonic form in a new, rather non-Germanic direction with its dream-like narrative of personal desires and fears. The idea of both Germany and Italy as single modern nation states emerged only with their unification movements in the 19th century. France, on the other hand, has been a political entity for hundreds of years, as a kingdom, a republic and briefly as an empire. The smaller kingdoms and principalities that eventually coalesced into Italy and Germany had numerous courts and capitals; by contrast, French classical music has always had its centre in cosmopolitan Paris. This made our task of defining what we meant by the ‘music of France’ fairly straightforward, but it was not without its challenges. The boundaries of France have altered over time, so the inclusion of some of the composers in our original voting list was quite literally ‘border-line’. Many of the great non-French composers spent time living and working in France, notably Stravinsky and Chopin. Could we include Chopin’s music in the music of France? It was a question that divided opinion within ABC Classic FM. To settle the matter we asked our listeners to give us their views via Facebook. In less than a day we had the answer: an overwhelming majority said no, Chopin was a Polish composer, and most importantly, he had considered himself to be so. When we announced the Classic 100: Twentieth Century in 2011, a few listeners said that they felt they couldn’t take part because they didn’t know enough 20th-century music. By the time the Countdown was over, many more listeners were telling us that they hadn’t realised how much of that music they already knew and loved – and how they’d enjoyed getting to know more. Listeners have said something similar about the Music of France: many were delighted to find how many French works were already among their favourites. What can we say about French music from the works that you selected for the Countdown? Perhaps the most striking characteristic is its sheer beauty. You can see a vein of sensuality and an almost nostalgic feeling for myth and the ancient world in such 3 works as the Gymnopedies and Prelude to ‘The Afternoon of a Faun’. A certain French genius for translating the natural world into the imagery of music reveals itself as much in the majestic landscape painting of La Mer as in the witty sketches of the Carnival of the Animals. There’s a continuing fascination with exotic cultures evident in the stories and sounds of The Pearl Fishers, Lakmé and Sheherazade, and in the musical influences from Asia that were felt in the late 19th century. And how often have French composers turned for inspiration to the land just to their south: Ravel’s Bolero, Chabrier’s España, Lalo’s Symphonie espagnole and our number one, Bizet’s Carmen, are all immersed in the rhythms and colours of Spain. We seem also to respond to a deep sense of the spiritual in French music of all kinds, from Faure’s exquisite Requiem to the strange and cosmic mysticism of Messiaen’s Turangalîla Symphony. Messiaen declared that this work was essentially ‘a song of love’, and it’s no surprise that in l’amour we find one of the recurring themes of this Countdown, from the romantic longing of the Songs of the Auvergne and the eroticism of Ravel’s Daphnis and Chloe to variations on grand passions of doomed love in Samson and Delilah and in Carmen. Can we hear in these characteristics a particular appeal of French music to Australian ears? Perhaps we share some of them – an awareness of the potency of landscape and the sea, the celebration of sensuality and pleasure, nostalgia for summer afternoons and nights, and delight in eccentricity and wit. CD1 TRACK RANK 1 1 2 4 GEORGES BIZET 1838-1875 Carmen – highlights Act I Prélude Mais nous ne voyons pas la Carmencita!...L’amour est un oiseau rebelle (Habanera) Soldiers, young men, cigarette girls, Carmen 2’15 5’31 3 Parle-moi de ma mère Don José, Micaëla 9’27 4 Près des remparts de Séville (Seguidilla) Carmen, Don José 4’43 5 Act II Les tringles des sistres tintaient Carmen, Frasquita, Mercédès 4’53 6 Vivat, vivat le torero!...Votre toast (Toreador Song) Escamillo’s friends, Zuniga, Mercédès, Frasquita, Lillas Pastia, Escamillo, Carmen 6’55 7 Nous avons en tête une affaire Dancaïre, Frasquita, Mercédès, Remendado, Carmen 4’55 8 La fleur que tu m’avais jetée (Flower Song) Don José 3’52 This beautiful collection is the result of your choices. Thank you to the thousands of listeners who helped to put it together. I hope it brings you many hours of joy, and that you’ll join us again on ABC Classic FM to discover still more of the riches of the music of France. Richard Buckham Manager, ABC Classic FM October 2012 [74’55] 5 CD2 TRACK RANK 9 0 ! @ £ Non! tu ne m’aimes pas! Carmen, Don José 4’18 TRACK RANK 2 Act III Mêlons! Coupons! Frasquita, Mercédès, Carmen 7’27 Je dis que rien ne m’épouvante Micaëla Act IV Les voici, les voici Street-sellers, gypsies, boys 5’43 1 2 3 4 4’14 3 C’est toi! – C’est moi! Carmen, Don José, spectators at the bullfight Tatiana Troyanos Plácido Domingo José van Dam Kiri Te Kanawa Norma Burrowes Jane Berbié Michel Roux Michel Sénéchal Pierre Thau Jacques Loreau [78’09] Carmen Don José Escamillo Micaëla Frasquita Mercédès Dancaïre Remendado Zuniga Lillas Pastia John Alldis Choir Boys’ Chorus from Haberdasher Aske’s School, Elstree London Philharmonic Orchestra Sir Georg Solti conductor 6 10’03 5 6 7 8 9 0 ! 4 @ £ $ CAMILLE SAINT-SAËNS 1835-1921 Symphony No. 3 in C minor, Op. 78 ‘Organ’ I. Adagio – Allegro moderato – Poco adagio II. Allegro moderato – Presto – Maestoso – Allegro Peter Hurford organ, Orchestre Symphonique de Montréal, Charles Dutoit conductor GABRIEL FAURÉ 1845-1924 Requiem, Op. 48 I. Introït et Kyrie II. Offertoire III. Sanctus Kirsten Williams solo violin IV. Pie Jesu V. Agnus Dei VI. Libera me VII. In Paradisum Sara Macliver soprano 8, Teddy Tahu Rhodes bass-baritone 6, 0, Cantillation, Sinfonia Australis, Antony Walker conductor ERIK SATIE 1866-1925 Trois Gymnopédies Gymnopédie No. 1 Gymnopédie No. 2 Gymnopédie No. 3 Tamara Anna Cislowska piano [34’24] 10’18 9’28 6’47 7’44 [35’12] 6’04 8’03 3’19 4’07 5’12 4’40 3’12 [8’11] 3’13 2’34 2’18 7 [76’16] 0 N’aï pas ïèu dè mio (I Have No Sweetheart) (Book II, No. 5a) 2’14 Sara Macliver soprano, The Queensland Orchestra, Brett Kelly conductor GEORGES BIZET The Pearl Fishers: Au fond du temple saint (In the depths of the holy temple) 5’49 Words by Eugène Cormon and Michel Carré. David Hobson tenor, Teddy Tahu Rhodes bass-baritone, Sinfonia Australis, Thomas Woods conductor CD4 [77’13] CD3 TRACK RANK 1 2 5 6 7 3 4 5 6 7 8 8 9 CLAUDE DEBUSSY 1862-1918 Prélude à ‘L’Après-midi d’un faune’ (Prelude to ‘The Afternoon of a Faun’) Melbourne Symphony Orchestra, Jorge Mester conductor TRACK RANK 1 9’52 2 HECTOR BERLIOZ 1803-1869 Symphonie fantastique, Op. 14 [50’30] I. Rêveries (Daydreams) – Passions: Largo – Allegro agitato e appassionato assai 14’48 II. Un bal (A ball): Valse. Allegro non troppo 6’04 III. Scène aux champs (Scene in the fields): Adagio 15’18 IV. Marche au supplice (March to the scaffold): Allegretto non troppo 4’29 V. Songe d’une nuit de sabbat (Sabbath night dream): Larghetto – Allegro – Dies irae – Ronde du Sabbat (Sabbath Dance: Un peu retenu) – Dies irae and Ronde du sabbat together 9’36 Orchestre de l’Opéra Bastille, Myung-Whun Chung conductor 3 4 5 6 7 8 9 0 ! @ £ $ % JOSEPH CANTELOUBE 1879-1957 Chants d’Auvergne (Songs of the Auvergne) – selections Baïlèro (Book I, No. 2) L’aïo de rotso (Spring Water) (Book I, No. 3a) 8 6’08 1’15 9 MAURICE RAVEL 1875-1937 Boléro Sydney Symphony Orchestra, Stuart Challender conductor 14’39 CAMILLE SAINT-SAËNS 10 Le Carnaval des animaux (The Carnival of the Animals) [22’46] I. Introduction et marche royale du lion (Introduction and Royal March of the Lion) 2’01 II. Poules et coqs (Hens and Roosters) 0’53 III. Hémiones: animaux véloces (Wild Asses: Speedy Animals) 0’38 IV. Tortues (Tortoises) 1’57 V. L’Éléphant (The Elephant) 1’23 VI. Kangourous (Kangaroos) 0’54 VII. Aquarium 2’38 VIII. Personnages à longues oreilles (Characters with Long Ears) 0’57 IX. Le Coucou au fond des bois (The Cuckoo Deep in the Woods) 2’25 X. Volière (Aviary) 1’18 XI. Pianistes (Pianists) 1’21 XII. Fossiles (Fossils) 1’24 XIII. Le Cygne (The Swan) 2’56 XIV. Finale 2’01 Adelaide Symphony Orchestra, Anna Goldsworthy and Mark Kruger pianos, Janis Laurs cello $, David Stanhope conductor 9 ^ & * ( ) ¡ CLAUDE DEBUSSY 12 La Mer (The Sea) [23’36] I. De l’aube à midi sur la mer (From Dawn to Midday on the Sea): Très lent (Very slow) 8’45 II. Jeux de vagues (Play of Waves): Allegro dans un rythme très souple (In a very flexible rhythm) 7’06 III. Dialogue du vent et de la mer (Dialogue of the Wind and the Sea): Animé et tumultueux (Lively and tumultuous) 7’39 The Cleveland Orchestra, Pierre Boulez conductor The Classic 100 Music of France – Complete List CHARLES-FRANÇOIS GOUNOD 1818-1893 32 Faust: Faites-lui mes aveux (Make My Confesson to Her) Words by Jules Barbier and Michel Carré. Sally-Anne Russell mezzo-soprano, Adelaide Symphony Orchestra, Nicholas Milton conductor 6 CLAUDE DEBUSSY 40 Children’s Corner: VI. Golliwogg’s Cake-walk Roger Woodward piano GABRIEL FAURÉ 46 Clair de lune (Moonlight) Words by Paul Verlaine. Yvonne Kenny soprano, Malcolm Martineau piano 3 4 5 2’49 7 8 2’25 9 10 11 2’50 ™ MAURICE RAVEL 50 Le Tombeau de Couperin: III. Forlane Stephanie McCallum piano 5’31 # MARC-ANTOINE CHARPENTIER 1643-1704 67 Te Deum, H146: Prelude West Australian Symphony Orchestra, Benjamin Northey conductor 1’49 10 1 2 12 13 14 15 16 17 18 BIZET Carmen SAINT-SAËNS Symphony No. 3 ‘Organ’ FAURÉ Requiem SATIE Trois Gymnopédies BIZET Les Pêcheurs de perles (The Pearl Fishers) DEBUSSY Prélude à ‘L’Après-midi d’un faune’ BERLIOZ Symphonie fantastique CANTELOUBE Chants d’Auvergne (Songs from the Auvergne) RAVEL Boléro SAINT-SAËNS Le Carnaval des animaux (Carnival of the Animals) DEBUSSY Suite bergamasque (incl. Clair de lune) DEBUSSY La Mer (The Sea) RAVEL Pavane pour une infante défunte (Pavane for a Dead Princess) MASSENET Thaïs DELIBES Lakmé SAINT-SAËNS Danse macabre OFFENBACH Les Contes d’Hoffmann (The Tales of Hoffmann) 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 11 DEBUSSY Préludes – Book 1, incl. La Cathédrale engloutie (The Submerged Cathedral and La Fille aux cheveux de lin (The Girl with the Flaxen Hair) WIDOR Organ Symphony No. 5 (incl. Toccata) RAVEL String Quartet RAVEL Piano Concerto in G major SATIE Gnossiennes FAURÉ Pavane MESSIAEN Quatuor pour la fin du temps (Quartet for the End of Time) ADAM Cantique de Noël: Minuit, chrétiennes (O Holy Night) DUKAS L’apprenti sorcier (The Sorcerer’s Apprentice) BIZET L’Arlésienne DELIBES Coppélia SAINT-SAËNS Samson et Dalila FAURÉ Cantique de Jean Racine RAVEL Daphnis et Chloé GOUNOD Faust GOUNOD Ave Maria OFFENBACH Orphée aux enfers (Orpheus in the Underworld) (incl. Galop infernal – Can-can) BERLIOZ La Marseillaise – arrangement BIZET Symphony in C major 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 ADAM Giselle FRANCK Violin Sonata CHABRIER España DEBUSSY Children’s Corner – Suite SAINT-SAËNS Piano Concerto No. 2 FRANCK Symphony in D minor SAINT-SAËNS Piano Concerto No. 5 ‘Egyptian’ BERLIOZ Les nuits d’été (Summer Nights) BERLIOZ Harold en Italie (Harold in Italy) FAURÉ Clair de lune (Moonlight) MARAIS Sonnerie de SteGeneviève du Mont-de-Paris (The Bells of St Genevieve) FRANCK Panis angelicus DEBUSSY Nocturnes RAVEL Le Tombeau de Couperin MESSIAEN Turangalîla-Symphonie BERLIOZ L’Enfance du Christ (The Birth of Christ) (incl. The Shepherds’ Farewell) BERLIOZ Grande messe des morts (Requiem) RAVEL Shéhérazade RAVEL Piano Trio DEBUSSY String Quartet POULENC Organ Concerto JARRE Doctor Zhivago 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 12 JARRE Lawrence of Arabia DURUFLÉ Requiem OFFENBACH Gaîté parisienne RAVEL Piano Concerto for the Left Hand DEBUSSY Cello Sonata LITOLFF Concerto symphonique No. 4 (incl. Scherzo) RAMEAU Les Indes galantes GODARD Jocelyn (incl. Berceuse) CHARPENTIER Te Deum BERLIOZ Te Deum SAINT-SAËNS Cello Concerto No. 1 DEBUSSY Deux arabesques BOIELDIEU Harp Concerto POULENC Flute Sonata GOUNOD Messe solennelle de Ste Cécile (Saint Cecilia Mass) FAURÉ Sicilienne Op. 78 for cello and piano LALO Symphonie espagnole COUPERIN Les Barricades mystérieuses RAVEL Ma mère l’oye (Mother Goose) DEBUSSY Pelléas et Mélisande (incl. Sicilienne) LULLY Le Bourgeois gentilhomme (incl. Marche pour la cérémonie des Turcs) 80 81 82 DEBUSSY Images pour piano ROUGET DE LISLE La Marseillaise SAINT-SAËNS Introduction and Rondo Capriccioso 83 BERLIOZ La Damnation de Faust 84 FRANCK Symphonic Variations 85 CHAMINADE Flute Concertino 86 BERLIOZ Le Carnaval romain (Roman Carnival Overture) 87 FRANCK Cello Sonata 88 RAVEL Rapsodie espagnole 89 RAVEL Gaspard de la nuit 90 BERLIOZ Les Troyens (The Trojans) 91 MASSENET Manon 92 HAHN À Cloris 93 BOLLING Suite for Flute and Jazz Piano 94 POULENC Gloria 95 SAINT-SAËNS Violin Concerto No. 3 96 FAURÉ Dolly Suite 97 MESSIAEN Vingt regards sur l’enfant-Jésus (Twenty contemplations of the child Jesus) 98 BERLIOZ Roméo et Juliette (Romeo and Juliet) 99 DEBUSSY Petite suite pour piano (4 hands) (incl. En bateau) 100 SATIE Je te veux (I want you) 13 Executive Producers Robert Patterson, Laura Bell Mastering Virginia Read CD2, CD3, CD4 Publications Editor Natalie Shea Cover Concept Spring in Alaska Booklet Design Imagecorp Pty Ltd Chants d’Auvergne by Joseph Canteloube is published by Éditions Heugel. ABC Classics thanks Cyrus Meher-Homji, Ed Scholl and Tory Gervay (Universal Music Australia), Richard Buckham, Emma Paillas and Meghan Fitzgerald (ABC Classic FM), Andrew Delaney, Dux Newton and Jonathan Villanueva. www.abcclassics.com CD1 1-£, CD2 1-4, CD3 3-7, CD4 ^-* licensed courtesy of Universal Music Australia Pty Limited www.getmusic.com.au 1976 CD1 1-£; 1982 CD2 1-4 Decca Music Group Limited. 1995 CD3 3-7, CD4 ^-* Deutsche Grammophon GmbH, Hamburg. 1989 CD4 1; 1993 CD3 2; 1995 CD4 ); 1998 CD2 @-$; 2001 CD2 5-!; CD4 ™; 2004 CD3 1; 2006 CD3 8-0; CD4 ¡; 2007 CD4 (; 2009 CD4 #; 2012 CD4 2-% Australian Broadcasting Corporation. This compilation was first published in 2012 and any and all copyright in this compilation is owned by the Australian Broadcasting Corporation. 훿 2012 Australian Broadcasting Corporation. Distributed in Australia and New Zealand by Universal Music Group, under exclusive licence. Made in Australia. All rights of the owner of copyright reserved. Any copying, renting, lending, diffusion, public performance or broadcast of this record without the authority of the copyright owner is prohibited. 14