Christian Svarfvar & Roland Pöntinen - Après un rêve (2016) [Hi-Res]
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BAND/ARTIST: Christian Svarfvar, Roland Pöntinen
- Title: Après un rêve
- Year Of Release: 2016
- Label: BIS
- Genre: Classical
- Quality: flac 24bits - 96.0kHz +booklet
- Total Time: 01:00:30
- Total Size: 2 gb
- WebSite: Album Preview
Tracklist
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01. Violin Sonata No. 1 in A Major, Op. 13: I. Allegro molto
02. Violin Sonata No. 1 in A Major, Op. 13: II. Andante
03. Violin Sonata No. 1 in A Major, Op. 13: III. Allegro vivo
04. Violin Sonata No. 1 in A Major, Op. 13: IV. Allegro quasi presto
05. Apres un reve, Op. 7, No. 1 (arr. for violin and piano)
06. Morceau de lecture (version for violin and piano)
07. Préludes, Book 1, L. 117: Preludes, Book 1: No. 12. Minstrels (arr. for violin and piano)
08. Beau soir (arr. J. Heifetz for violin and piano)
09. Vocalise-étude en forme de habanera, M. 51: Pièce en forme de habanera
10. Berceuse sur le nom de Gabriel Fauré
11. Violin Sonata No. 2 in G Major, M. 77: I. Allegretto
12. Violin Sonata No. 2 in G Major, M. 77: II. Blues: Moderato
13. Violin Sonata No. 2 in G Major, M. 77: III. Perpetuum mobile: Allegretto
Until the 1870s, French musical life was dominated by opera to the extent that one might almost forget that some composers also wrote instrumental music, against all the odds. Nonetheless, the scarcity of public performances of chamber works was such that one could nearly believe that the historical antagonism between France and Germany extended as far as music, and that a genre particularly dominated by German composers ran the risk of being regarded as anti- French – or worse, pro-German. In 1871, to remedy this state of affairs, Saint-Saëns founded the ‘Société nationale de musique’, with the aim of championing French chamber music because until then, as he wrote in Le Voltaire in November 1880: ‘a composer who had the temerity to venture into the territory of instrumental music had no means of having his works performed other than giving a concert himself and invite his friends and the critics’. Although it is tempting to see the society as a chauvinist or even resentful reaction in the context of France’s defeat by Prussia in 1870, it was nonetheless to have a significant impact: Gabriel Fauré later admitted that without the society, he ‘[would not have] dreamed of composing a sonata or quartet’, and the works of young composers from the new generation such as Debussy and Ravel were included in its programmes without delay.
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01. Violin Sonata No. 1 in A Major, Op. 13: I. Allegro molto
02. Violin Sonata No. 1 in A Major, Op. 13: II. Andante
03. Violin Sonata No. 1 in A Major, Op. 13: III. Allegro vivo
04. Violin Sonata No. 1 in A Major, Op. 13: IV. Allegro quasi presto
05. Apres un reve, Op. 7, No. 1 (arr. for violin and piano)
06. Morceau de lecture (version for violin and piano)
07. Préludes, Book 1, L. 117: Preludes, Book 1: No. 12. Minstrels (arr. for violin and piano)
08. Beau soir (arr. J. Heifetz for violin and piano)
09. Vocalise-étude en forme de habanera, M. 51: Pièce en forme de habanera
10. Berceuse sur le nom de Gabriel Fauré
11. Violin Sonata No. 2 in G Major, M. 77: I. Allegretto
12. Violin Sonata No. 2 in G Major, M. 77: II. Blues: Moderato
13. Violin Sonata No. 2 in G Major, M. 77: III. Perpetuum mobile: Allegretto
Until the 1870s, French musical life was dominated by opera to the extent that one might almost forget that some composers also wrote instrumental music, against all the odds. Nonetheless, the scarcity of public performances of chamber works was such that one could nearly believe that the historical antagonism between France and Germany extended as far as music, and that a genre particularly dominated by German composers ran the risk of being regarded as anti- French – or worse, pro-German. In 1871, to remedy this state of affairs, Saint-Saëns founded the ‘Société nationale de musique’, with the aim of championing French chamber music because until then, as he wrote in Le Voltaire in November 1880: ‘a composer who had the temerity to venture into the territory of instrumental music had no means of having his works performed other than giving a concert himself and invite his friends and the critics’. Although it is tempting to see the society as a chauvinist or even resentful reaction in the context of France’s defeat by Prussia in 1870, it was nonetheless to have a significant impact: Gabriel Fauré later admitted that without the society, he ‘[would not have] dreamed of composing a sonata or quartet’, and the works of young composers from the new generation such as Debussy and Ravel were included in its programmes without delay.
Year 2016 | Classical | FLAC / APE | HD & Vinyl
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