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COMPOSERVARIOUS
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ORCHESTRA / ENSEMBLEEndres Quartet, Luxembourge Radio Orchestra
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PERFORMERFaerber, Froment, Hampe, Jamet, Michel, Mildonian, Pari
Music For Harp - Middle Ages To The 20th Century
Regular price
$35.99
Unit price
per
- Vox
- January 1, 1992
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RELEASE DATEJanuary 01, 1992
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UPC047163301926
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CATALOG NUMBERCD3X-3019
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LABELVox
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NUMBER OF DISCS3
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GENRE
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I. Allegro moderato
Composer: Carl Reinecke
Ensemble: Luxembourg Radio Orchestra
Performer: Catherine Michel
Conductor: Louis de Froment
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II. Adagio
Composer: Carl Reinecke
Ensemble: Luxembourg Radio Orchestra
Performer: Catherine Michel
Conductor: Louis de Froment
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III. Finale-Scherzo: Allegro vivace
Composer: Carl Reinecke
Ensemble: Luxembourg Radio Orchestra
Performer: Catherine Michel
Conductor: Louis de Froment
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Morceau de concert in G Major, Op. 154
Composer: Camille Saint-Saëns
Ensemble: Luxembourg Radio Orchestra
Performer: Catherine Michel
Conductor: Louis de Froment
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Fantaisie in A Minor, Op. 95
Composer: Camille Saint-Saëns
Performer: Catherine Michel
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I. Allegro
Composer: Louis Spohr
Ensemble: Luxembourg Radio Orchestra
Performer: Ruggiero Ricci, Susanna Mildonian
Conductor: Louis de Froment
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II. Adagio
Composer: Louis Spohr
Ensemble: Luxembourg Radio Orchestra
Performer: Ruggiero Ricci, Susanna Mildonian
Conductor: Louis de Froment
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III. Rondo: Allegretto
Composer: Louis Spohr
Ensemble: Luxembourg Radio Orchestra
Performer: Ruggiero Ricci, Susanna Mildonian
Conductor: Louis de Froment
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Introduction et Allegro
Composer: Maurice Ravel
Ensemble: Endres Quartet
Performer: Konrad Hampe, Gerd Starke, Helga Storck
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I. Allegro
Composer: François-Adrien Boieldieu
Ensemble: Paul Kuentz Chamber Orchestra of Paris
Performer: Marie-Claire Jamet
Conductor: Paul Kuentz
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II. Andante lento
Composer: François-Adrien Boieldieu
Ensemble: Paul Kuentz Chamber Orchestra of Paris
Performer: Marie-Claire Jamet
Conductor: Paul Kuentz
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III. Rondeau: Allegro agitato
Composer: François-Adrien Boieldieu
Ensemble: Paul Kuentz Chamber Orchestra of Paris
Performer: Marie-Claire Jamet
Conductor: Paul Kuentz
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I. Allegro
Composer: Carl Ditters von Dittersdorf
Ensemble: Württembergisches Kammerorchester Heilbronn
Performer: Helga Storck
Conductor: Jörg Faerber
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II. Larghetto
Composer: Carl Ditters von Dittersdorf
Ensemble: Württembergisches Kammerorchester Heilbronn
Performer: Helga Storck
Conductor: Jörg Faerber
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III. Rondo: Allegretto - Allegro moderato
Composer: Carl Ditters von Dittersdorf
Ensemble: Württembergisches Kammerorchester Heilbronn
Performer: Helga Storck
Conductor: Jörg Faerber
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I. Andante - Allegro
Composer: George Frideric Handel
Ensemble: Paul Kuentz Chamber Orchestra of Paris
Performer: Marie-Claire Jamet
Conductor: Paul Kuentz
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II. Larghetto
Composer: George Frideric Handel
Ensemble: Paul Kuentz Chamber Orchestra of Paris
Performer: Marie-Claire Jamet
Conductor: Paul Kuentz
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III. Allegro moderato
Composer: George Frideric Handel
Ensemble: Paul Kuentz Chamber Orchestra of Paris
Performer: Marie-Claire Jamet
Conductor: Paul Kuentz
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A Choice Collection of Lessons: Suite No. 1 in G Major, Z. 660 (arr. for harp)
Composer: Henry Purcell
Performer: Elena Polonska
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My Thousand Times Beloves - Pastheen Fionn
Composer: Traditional
Performer: Elena Polonska
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My Lady Greensleeves
Composer: Anonymous
Performer: Elena Polonska
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Nu alrest leb ich mir werde, "Palastinalied" - Wie sol ich den gemynen
Composer: Walther von der Vogelweide
Performer: Elena Polonska
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Trotto
Composer: Anonymous
Performer: Elena Polonska
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Gymel
Composer: Guilielmus Monachus
Performer: Elena Polonska
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Estampie Royale
Composer: Anonymous
Performer: Elena Polonska
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Danse Royale
Composer: Anonymous
Performer: Elena Polonska
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Lamento di Tristano - La Rotta
Composer: Anonymous
Performer: Elena Polonska
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Danceries
Composer: Claude Gervaise
Performer: Elena Polonska
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I. Allegro moderato
Composer: Reinhold Glière
Ensemble: Luxembourg Radio Orchestra
Performer: Catherine Michel
Conductor: Louis de Froment
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II. Theme and Variations: Andante
Composer: Reinhold Glière
Ensemble: Luxembourg Radio Orchestra
Performer: Catherine Michel
Conductor: Louis de Froment
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III. Allegro giocoso
Composer: Reinhold Glière
Ensemble: Luxembourg Radio Orchestra
Performer: Catherine Michel
Conductor: Louis de Froment
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Concertstuck, Op. 39
Composer: Gabriel Pierné
Ensemble: Luxembourg Radio Orchestra
Performer: Catherine Michel
Conductor: Louis de Froment
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Impromptu-caprice, Op. 9
Composer: Gabriel Pierné
Performer: Catherine Michel
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I. Pastorale
Composer: Claude Debussy
Performer: Wilhelm Schwegler, Fritz Ruf, Helga Storck
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II. Interlude: Tempo di Minuetto
Composer: Claude Debussy
Performer: Wilhelm Schwegler, Fritz Ruf, Helga Storck
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III. Finale: Allegro moderato ma risoluto
Composer: Claude Debussy
Performer: Wilhelm Schwegler, Fritz Ruf, Helga Storck
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I. Allegro
Composer: Albert Roussel
Ensemble: Endres Quartet
Performer: Wilhelm Schwegler, Helga Storck
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II. Andante
Composer: Albert Roussel
Ensemble: Endres Quartet
Performer: Wilhelm Schwegler, Helga Storck
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III. Presto
Composer: Albert Roussel
Ensemble: Endres Quartet
Performer: Wilhelm Schwegler, Helga Storck
Featuring ⌄
Product Details ⌄
Works ⌄
...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]
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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]
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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]
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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]
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