Andreas Brantelid & Bengt Forsberg - Fauré: The Music for Cello & Piano (2017) [Hi-Res]
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BAND/ARTIST: Andreas Brantelid, Bengt Forsberg
- Title: Fauré: The Music for Cello & Piano
- Year Of Release: 2017
- Label: BIS
- Genre: Classical
- Quality: flac 24bits - 96.0kHz +booklet
- Total Time: 01:10:13
- Total Size: 1.2 gb
- WebSite: Album Preview
Tracklist
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01. Romance, Op. 69
02. Papillon, Op. 77
03. Sérénade, Op. 98
04. Berceuse, Op. 16 (Arr. for Cello & Piano)
05. Cello Sonata No. 1 in D Minor, Op. 109: I. Allegro
06. Cello Sonata No. 1 in D Minor, Op. 109: II. Andante
07. Cello Sonata No. 1 in D Minor, Op. 109: III. Finale. Allegro comodo
08. Morceau de lecture (Version for 2 Cellos)
09. Dolly Suite, Op. 56: I. Berceuse. Allegretto moderato (Arr. for Cello & Piano)
10. Sicilienne, Op. 78
11. Élégie, Op. 24
12. Cello Sonata No. 2 in G Minor, Op. 117: I. Allegro
13. Cello Sonata No. 2 in G Minor, Op. 117: II. Andante
14. Cello Sonata No. 2 in G Minor, Op. 117: III. Allegro vivo
15. Andante for Cello & Organ (Early Version of Romance, Op. 69) [Version for Cello & Harmonium]
Gabriel Fauré cannot be regarded as a precocious composer: by the age of thirty he had hardly composed anything except songs and a few short piano pieces. There was nothing to indicate that he would go on to produce a body of chamber music unequalled among his peers. He wrote: ‘For me art, especially music, consists of elevating ourselves as far as possible above the everyday’ (letter to his son, 31st August 1908), and had little time for programme music, picturesque elements (no Hispanicisms here), evocations and ‘local colour’, distrusting brilliant colours and excessively subtle sound combinations. He wrote little orchestral music, finding instead songs and chamber music to be the ideal vehicle for ‘expressing the unsayable’ (Jean-Michel Nectoux), for the ‘delightful ambiguity’ and ‘the exquisite and deceptive mirage of a moment’ (Vladimir Jankélévitch).
This recording contains all of Fauré’s music for cello and piano, covering different phases of his career, from his so-called ‘salon’ period (the Berceuse) up until his later period (the Sonatas) when, suffering from deafness, he relinquished the charm that had hitherto characterized his music, developing a pared-down, even ascetic style, reduced to the bare essentials.
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01. Romance, Op. 69
02. Papillon, Op. 77
03. Sérénade, Op. 98
04. Berceuse, Op. 16 (Arr. for Cello & Piano)
05. Cello Sonata No. 1 in D Minor, Op. 109: I. Allegro
06. Cello Sonata No. 1 in D Minor, Op. 109: II. Andante
07. Cello Sonata No. 1 in D Minor, Op. 109: III. Finale. Allegro comodo
08. Morceau de lecture (Version for 2 Cellos)
09. Dolly Suite, Op. 56: I. Berceuse. Allegretto moderato (Arr. for Cello & Piano)
10. Sicilienne, Op. 78
11. Élégie, Op. 24
12. Cello Sonata No. 2 in G Minor, Op. 117: I. Allegro
13. Cello Sonata No. 2 in G Minor, Op. 117: II. Andante
14. Cello Sonata No. 2 in G Minor, Op. 117: III. Allegro vivo
15. Andante for Cello & Organ (Early Version of Romance, Op. 69) [Version for Cello & Harmonium]
Gabriel Fauré cannot be regarded as a precocious composer: by the age of thirty he had hardly composed anything except songs and a few short piano pieces. There was nothing to indicate that he would go on to produce a body of chamber music unequalled among his peers. He wrote: ‘For me art, especially music, consists of elevating ourselves as far as possible above the everyday’ (letter to his son, 31st August 1908), and had little time for programme music, picturesque elements (no Hispanicisms here), evocations and ‘local colour’, distrusting brilliant colours and excessively subtle sound combinations. He wrote little orchestral music, finding instead songs and chamber music to be the ideal vehicle for ‘expressing the unsayable’ (Jean-Michel Nectoux), for the ‘delightful ambiguity’ and ‘the exquisite and deceptive mirage of a moment’ (Vladimir Jankélévitch).
This recording contains all of Fauré’s music for cello and piano, covering different phases of his career, from his so-called ‘salon’ period (the Berceuse) up until his later period (the Sonatas) when, suffering from deafness, he relinquished the charm that had hitherto characterized his music, developing a pared-down, even ascetic style, reduced to the bare essentials.
Year 2017 | Classical | FLAC / APE | HD & Vinyl
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