Vox
Music For Harp - Middle Ages To The 20th Century
$35.99
Details
- Composer
- VARIOUS
- Artist
- Faerber, Froment, Hampe, Jamet, Michel, Mildonian, Pari
- Format
- CD
- Label
- Vox
- Released
- Jan 01, 1992
- Catalog #
- CD3X-3019
- UPC
- 047163301926
About
...Ricci's performance of the Adagio [from the Spohr Concertante] could not be bettered and he has a worthy partner in Susanna Mildonian... Louis de Froment is an admirable accompanist and the recording...is admirably clear and well balanced.
-- Gramophone [6/1979, reviewing an LP release of the Spohr]
-----------------------------------
The chromatic harp is an idiosyncratic and, outside certain simple formulae, difficult instrument to write for; it has also been hard for it to escape from its 'romantic' image. Think of the harp, think of arpeggios (isn't that what the word signifies?), and those traversed with a sweep of the hand are inevitably colourful because you can't do it with a simple triad. Harp concertos have never been numerous and, other than Mozart and Handel, have come and gone like recorded ships in the night. Glière's has survived but Zabaleta's account of Reinecke's has long gone (DG 138 853, 11/63). Hard to realize the Glihre was written as late as 1939 —broad but fairly commonplace tunes, ultraconservative structure and language, arpeggios galore are its lot, music to relax and dream to. Michel is a fine harpist and her Glibre fully matches Ellis's older and less crisply recorded version on Decca, but neither can transmute the music's pewter to gold. The Reinecke is a more demonstrative and developed work, not written 'Out of its time', exploiting the resources of the harp in both solo and subsidiary roles, the flanking movements with cyclic connections.
The slow movement is exceptionally beautiful, the opening theme given by harp and trombone in hushed unison, and later, in ethereal harmonies on the harp with quiet responses from the strings. Michel presses a little ahead of her colleagues at times (notably the unisoni trombone) but generally benefits from skilful orchestration, sensitive support and well balanced recording. Written for a 'commoner' instrument the Reinecke might have become an oft-heard standard in the repertoire- it may still find favour with anyone following my advice to buy this recording.
-- Gramophone [4/1980, reviewing the LP release of the Gliere and Reinecke concertos]
-----------------------------------
The novelty for me—and I daresay it may be for others too—was Roussel's Serenade of 1925, refreshing music that while keeping well clear of profundities, is yet most elegantly fashioned, urbane and full of wry charm. Here you will find the Melos Ensemble more smiling and certainly more kaleidescopic in colour. The Turnabout team are a bit more serious about the musical argument, a bit less bemused by effects of tone colouring. The flautist, Wilhelm Schwegler, also unfortunately has to breathe, whereas Richard Adeney's instrument (I presume it is Adeney) miraculously seems to play itself without audible intakes of air. It is Adeney's tonal bloom, his wider range of dynamics and colour and more malleable phrasing that in the first place succeeds in making Debussy's sonata sound more beguiling than the cheaper version, and especially in the opening Pastorale—considered by many critics no less seductive than the famous L'apres-midi. In this movement the Turnabout team do not react subtly and sensitively enough to detail, whereas the Melos are constantly reading between the lines and yielding rhythmically to this and that. But perhaps you could argue that the graver pulse chosen by the Germans for the Minuetto emphasizes its archaic, hieratic quality. I also thought they manage to define individual notes a bit more precisely in the finale than the Melos, who are sometimes a bit too impressionistic in their fluidity for this movement, where Debussy, "Musicien Francais", is very definitely looking back to seventeenth-and eighteenthcentury French classicism.
The performance I enjoyed most was the old, familiar Ravel from the Endres Quartet with Helga Storck, Konrad Hampe and Gerd Starke. The music, of course, is much less equivocal than the Debussy, and these players respond to its sensuous languor and tingling darts with more immediacy than I detected anywhere else on this record.
-- Joan Chissell, Gramophone [2/1969, reviewing the LP release of the Debussy, Ravel, and Roussel works]
-- Gramophone [6/1979, reviewing an LP release of the Spohr]
-----------------------------------
The chromatic harp is an idiosyncratic and, outside certain simple formulae, difficult instrument to write for; it has also been hard for it to escape from its 'romantic' image. Think of the harp, think of arpeggios (isn't that what the word signifies?), and those traversed with a sweep of the hand are inevitably colourful because you can't do it with a simple triad. Harp concertos have never been numerous and, other than Mozart and Handel, have come and gone like recorded ships in the night. Glière's has survived but Zabaleta's account of Reinecke's has long gone (DG 138 853, 11/63). Hard to realize the Glihre was written as late as 1939 —broad but fairly commonplace tunes, ultraconservative structure and language, arpeggios galore are its lot, music to relax and dream to. Michel is a fine harpist and her Glibre fully matches Ellis's older and less crisply recorded version on Decca, but neither can transmute the music's pewter to gold. The Reinecke is a more demonstrative and developed work, not written 'Out of its time', exploiting the resources of the harp in both solo and subsidiary roles, the flanking movements with cyclic connections.
The slow movement is exceptionally beautiful, the opening theme given by harp and trombone in hushed unison, and later, in ethereal harmonies on the harp with quiet responses from the strings. Michel presses a little ahead of her colleagues at times (notably the unisoni trombone) but generally benefits from skilful orchestration, sensitive support and well balanced recording. Written for a 'commoner' instrument the Reinecke might have become an oft-heard standard in the repertoire- it may still find favour with anyone following my advice to buy this recording.
-- Gramophone [4/1980, reviewing the LP release of the Gliere and Reinecke concertos]
-----------------------------------
The novelty for me—and I daresay it may be for others too—was Roussel's Serenade of 1925, refreshing music that while keeping well clear of profundities, is yet most elegantly fashioned, urbane and full of wry charm. Here you will find the Melos Ensemble more smiling and certainly more kaleidescopic in colour. The Turnabout team are a bit more serious about the musical argument, a bit less bemused by effects of tone colouring. The flautist, Wilhelm Schwegler, also unfortunately has to breathe, whereas Richard Adeney's instrument (I presume it is Adeney) miraculously seems to play itself without audible intakes of air. It is Adeney's tonal bloom, his wider range of dynamics and colour and more malleable phrasing that in the first place succeeds in making Debussy's sonata sound more beguiling than the cheaper version, and especially in the opening Pastorale—considered by many critics no less seductive than the famous L'apres-midi. In this movement the Turnabout team do not react subtly and sensitively enough to detail, whereas the Melos are constantly reading between the lines and yielding rhythmically to this and that. But perhaps you could argue that the graver pulse chosen by the Germans for the Minuetto emphasizes its archaic, hieratic quality. I also thought they manage to define individual notes a bit more precisely in the finale than the Melos, who are sometimes a bit too impressionistic in their fluidity for this movement, where Debussy, "Musicien Francais", is very definitely looking back to seventeenth-and eighteenthcentury French classicism.
The performance I enjoyed most was the old, familiar Ravel from the Endres Quartet with Helga Storck, Konrad Hampe and Gerd Starke. The music, of course, is much less equivocal than the Debussy, and these players respond to its sensuous languor and tingling darts with more immediacy than I detected anywhere else on this record.
-- Joan Chissell, Gramophone [2/1969, reviewing the LP release of the Debussy, Ravel, and Roussel works]
Tracklist 39 tracks
- Disc 1
-
1 I. Allegro moderato 09:50
- Track
- 1
- Title
- I. Allegro moderato
- Duration
- 09:50
- Composer
- Carl Reinecke
- Performer
- Catherine Michel
- Ensemble
- Luxembourg Radio Orchestra
- Conductor
- Louis de Froment
-
2 II. Adagio 05:15
- Track
- 2
- Title
- II. Adagio
- Duration
- 05:15
- Composer
- Carl Reinecke
- Performer
- Catherine Michel
- Ensemble
- Luxembourg Radio Orchestra
- Conductor
- Louis de Froment
-
3 III. Finale-Scherzo: Allegro vivace 06:58
- Track
- 3
- Title
- III. Finale-Scherzo: Allegro vivace
- Duration
- 06:58
- Composer
- Carl Reinecke
- Performer
- Catherine Michel
- Ensemble
- Luxembourg Radio Orchestra
- Conductor
- Louis de Froment
-
4 Morceau de concert in G Major, Op. 154 13:11
- Track
- 4
- Title
- Morceau de concert in G Major, Op. 154
- Duration
- 13:11
- Composer
- Camille Saint-Saëns
- Performer
- Catherine Michel
- Ensemble
- Luxembourg Radio Orchestra
- Conductor
- Louis de Froment
-
5 Fantaisie in A Minor, Op. 95 08:43
- Track
- 5
- Title
- Fantaisie in A Minor, Op. 95
- Duration
- 08:43
- Composer
- Camille Saint-Saëns
- Performer
- Catherine Michel
-
6 I. Allegro 09:45
- Track
- 6
- Title
- I. Allegro
- Duration
- 09:45
- Composer
- Louis Spohr
- Performer
- Ruggiero Ricci, Susanna Mildonian
- Ensemble
- Luxembourg Radio Orchestra
- Conductor
- Louis de Froment
-
7 II. Adagio 04:44
- Track
- 7
- Title
- II. Adagio
- Duration
- 04:44
- Composer
- Louis Spohr
- Performer
- Ruggiero Ricci, Susanna Mildonian
- Ensemble
- Luxembourg Radio Orchestra
- Conductor
- Louis de Froment
-
8 III. Rondo: Allegretto 07:06
- Track
- 8
- Title
- III. Rondo: Allegretto
- Duration
- 07:06
- Composer
- Louis Spohr
- Performer
- Ruggiero Ricci, Susanna Mildonian
- Ensemble
- Luxembourg Radio Orchestra
- Conductor
- Louis de Froment
-
9 Introduction et Allegro 10:52
- Track
- 9
- Title
- Introduction et Allegro
- Duration
- 10:52
- Composer
- Maurice Ravel
- Performer
- Konrad Hampe, Gerd Starke, Helga Storck
- Ensemble
- Endres Quartet
- Disc 2
-
1 I. Allegro 10:53
- Track
- 1
- Title
- I. Allegro
- Duration
- 10:53
- Composer
- François-Adrien Boieldieu
- Performer
- Marie-Claire Jamet
- Ensemble
- Paul Kuentz Chamber Orchestra of Paris
- Conductor
- Paul Kuentz
-
2 II. Andante lento 04:05
- Track
- 2
- Title
- II. Andante lento
- Duration
- 04:05
- Composer
- François-Adrien Boieldieu
- Performer
- Marie-Claire Jamet
- Ensemble
- Paul Kuentz Chamber Orchestra of Paris
- Conductor
- Paul Kuentz
-
3 III. Rondeau: Allegro agitato 06:32
- Track
- 3
- Title
- III. Rondeau: Allegro agitato
- Duration
- 06:32
- Composer
- François-Adrien Boieldieu
- Performer
- Marie-Claire Jamet
- Ensemble
- Paul Kuentz Chamber Orchestra of Paris
- Conductor
- Paul Kuentz
-
4 I. Allegro 06:37
- Track
- 4
- Title
- I. Allegro
- Duration
- 06:37
- Composer
- Carl Ditters von Dittersdorf
- Performer
- Helga Storck
- Ensemble
- Württembergisches Kammerorchester Heilbronn
- Conductor
- Jörg Faerber
-
5 II. Larghetto 08:25
- Track
- 5
- Title
- II. Larghetto
- Duration
- 08:25
- Composer
- Carl Ditters von Dittersdorf
- Performer
- Helga Storck
- Ensemble
- Württembergisches Kammerorchester Heilbronn
- Conductor
- Jörg Faerber
-
6 III. Rondo: Allegretto - Allegro moderato 03:58
- Track
- 6
- Title
- III. Rondo: Allegretto - Allegro moderato
- Duration
- 03:58
- Composer
- Carl Ditters von Dittersdorf
- Performer
- Helga Storck
- Ensemble
- Württembergisches Kammerorchester Heilbronn
- Conductor
- Jörg Faerber
-
7 I. Andante - Allegro 06:05
- Track
- 7
- Title
- I. Andante - Allegro
- Duration
- 06:05
- Composer
- George Frideric Handel
- Performer
- Marie-Claire Jamet
- Ensemble
- Paul Kuentz Chamber Orchestra of Paris
- Conductor
- Paul Kuentz
-
8 II. Larghetto 05:21
- Track
- 8
- Title
- II. Larghetto
- Duration
- 05:21
- Composer
- George Frideric Handel
- Performer
- Marie-Claire Jamet
- Ensemble
- Paul Kuentz Chamber Orchestra of Paris
- Conductor
- Paul Kuentz
-
9 III. Allegro moderato 02:47
- Track
- 9
- Title
- III. Allegro moderato
- Duration
- 02:47
- Composer
- George Frideric Handel
- Performer
- Marie-Claire Jamet
- Ensemble
- Paul Kuentz Chamber Orchestra of Paris
- Conductor
- Paul Kuentz
-
10 A Choice Collection of Lessons: Suite No. 1 in G Major, Z. 660 (arr. for harp) 03:45
- Track
- 10
- Title
- A Choice Collection of Lessons: Suite No. 1 in G Major, Z. 660 (arr. for harp)
- Duration
- 03:45
- Composer
- Henry Purcell
- Performer
- Elena Polonska
-
11 My Thousand Times Beloves - Pastheen Fionn 02:58
- Track
- 11
- Title
- My Thousand Times Beloves - Pastheen Fionn
- Duration
- 02:58
- Composer
- Traditional
- Performer
- Elena Polonska
-
12 My Lady Greensleeves 01:49
- Track
- 12
- Title
- My Lady Greensleeves
- Duration
- 01:49
- Composer
- Anonymous
- Performer
- Elena Polonska
-
13 Nu alrest leb ich mir werde, "Palastinalied" - Wie sol ich den gemynen 01:40
- Track
- 13
- Title
- Nu alrest leb ich mir werde, "Palastinalied" - Wie sol ich den gemynen
- Duration
- 01:40
- Composer
- Walther von der Vogelweide
- Performer
- Elena Polonska
-
14 Trotto 00:55
- Track
- 14
- Title
- Trotto
- Duration
- 00:55
- Composer
- Anonymous
- Performer
- Elena Polonska
-
15 Gymel 01:04
- Track
- 15
- Title
- Gymel
- Duration
- 01:04
- Composer
- Guilielmus Monachus
- Performer
- Elena Polonska
-
16 Estampie Royale 01:09
- Track
- 16
- Title
- Estampie Royale
- Duration
- 01:09
- Composer
- Anonymous
- Performer
- Elena Polonska
-
17 Danse Royale 02:11
- Track
- 17
- Title
- Danse Royale
- Duration
- 02:11
- Composer
- Anonymous
- Performer
- Elena Polonska
-
18 Lamento di Tristano - La Rotta 02:32
- Track
- 18
- Title
- Lamento di Tristano - La Rotta
- Duration
- 02:32
- Composer
- Anonymous
- Performer
- Elena Polonska
-
19 Danceries 04:39
- Track
- 19
- Title
- Danceries
- Duration
- 04:39
- Composer
- Claude Gervaise
- Performer
- Elena Polonska
- Disc 3
-
1 I. Allegro moderato 10:10
- Track
- 1
- Title
- I. Allegro moderato
- Duration
- 10:10
- Composer
- Reinhold Glière
- Performer
- Catherine Michel
- Ensemble
- Luxembourg Radio Orchestra
- Conductor
- Louis de Froment
-
2 II. Theme and Variations: Andante 10:12
- Track
- 2
- Title
- II. Theme and Variations: Andante
- Duration
- 10:12
- Composer
- Reinhold Glière
- Performer
- Catherine Michel
- Ensemble
- Luxembourg Radio Orchestra
- Conductor
- Louis de Froment
-
3 III. Allegro giocoso 04:42
- Track
- 3
- Title
- III. Allegro giocoso
- Duration
- 04:42
- Composer
- Reinhold Glière
- Performer
- Catherine Michel
- Ensemble
- Luxembourg Radio Orchestra
- Conductor
- Louis de Froment
-
4 Concertstuck, Op. 39 13:25
- Track
- 4
- Title
- Concertstuck, Op. 39
- Duration
- 13:25
- Composer
- Gabriel Pierné
- Performer
- Catherine Michel
- Ensemble
- Luxembourg Radio Orchestra
- Conductor
- Louis de Froment
-
5 Impromptu-caprice, Op. 9 05:07
- Track
- 5
- Title
- Impromptu-caprice, Op. 9
- Duration
- 05:07
- Composer
- Gabriel Pierné
- Performer
- Catherine Michel
-
6 I. Pastorale 06:41
- Track
- 6
- Title
- I. Pastorale
- Duration
- 06:41
- Composer
- Claude Debussy
- Performer
- Wilhelm Schwegler, Fritz Ruf, Helga Storck
-
7 II. Interlude: Tempo di Minuetto 05:37
- Track
- 7
- Title
- II. Interlude: Tempo di Minuetto
- Duration
- 05:37
- Composer
- Claude Debussy
- Performer
- Wilhelm Schwegler, Fritz Ruf, Helga Storck
-
8 III. Finale: Allegro moderato ma risoluto 04:43
- Track
- 8
- Title
- III. Finale: Allegro moderato ma risoluto
- Duration
- 04:43
- Composer
- Claude Debussy
- Performer
- Wilhelm Schwegler, Fritz Ruf, Helga Storck
-
9 I. Allegro 04:08
- Track
- 9
- Title
- I. Allegro
- Duration
- 04:08
- Composer
- Albert Roussel
- Performer
- Wilhelm Schwegler, Helga Storck
- Ensemble
- Endres Quartet
-
10 II. Andante 07:01
- Track
- 10
- Title
- II. Andante
- Duration
- 07:01
- Composer
- Albert Roussel
- Performer
- Wilhelm Schwegler, Helga Storck
- Ensemble
- Endres Quartet
-
11 III. Presto 04:14
- Track
- 11
- Title
- III. Presto
- Duration
- 04:14
- Composer
- Albert Roussel
- Performer
- Wilhelm Schwegler, Helga Storck
- Ensemble
- Endres Quartet