Royal Scottish National Orchestra, Stéphane Denève - Debussy: Orchestral Works (2012) [Hi-Res]
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BAND/ARTIST: Royal Scottish National Orchestra, Stéphane Denève
- Title: Debussy: Orchestral Works
- Year Of Release: 2012
- Label: Chandos
- Genre: Classical
- Quality: flac 24bits - 96.0kHz +Booklet
- Total Time: 02:26:17
- Total Size: 1.5 gb
- WebSite: Album Preview
Tracklist
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CD1
01. Images pour orchestre, L. 122: No. 1. Gigues
02. Images pour orchestre, L. 122: No. 2. Iberia: a. Par les rues et par les chemins
03. Images pour orchestre, L. 122: No. 2. Iberia: b. Les parfums de la nuit
04. Images pour orchestre, L. 122: No. 2. Iberia: c. Le matin d'un jour de fete
05. Images pour orchestre, L. 122: No. 3. Rondes de printemps
06. Jeux, L. 126: Prelude
07. Jeux, L. 126: Du fond, a gauche, apparaissent deux jeunes filles craintives
08. Jeux, L. 126: Une des deux jeunes filles danse seule
09. Jeux, L. 126: On apercoit le jeune homme au fond, a gauche, qui semble se cacher
10. Jeux, L. 126: Ils dansent ensemble
11. Jeux, L. 126: Le jeune homme a suivi cette derniere danse par curiosite
12. Jeux, L. 126: Dans l'emportement de leur danse, ils n'ont pas remarque
13. Jeux, L. 126: Pourtant, le jeune homme intervient en ecartant leurs tetes
14. Jeux, L. 126: Ils dansent desormais tous les trois
15. Jeux, L. 126: Une balle de tennis tombe a leurs pieds
16. Nocturnes, L. 91: No. 1. Nuages
17. Nocturnes, L. 91: No. 2. Fetes
18. Nocturnes, L. 91: No. 3. Sirenes
CD2
01. La mer, L. 109: No. 1. De l'aube a midi sur la mer
02. La mer, L. 109: No. 2. Jeux de vagues
03. La mer, L. 109: No. 3. Dialogue du vent et de la mer
04. Prélude à l'après-midi d'un faune, L. 86: Prelude a l'apres-midi d'un faune
05. Marche ecossaise sur un theme populaire (version for orchestra)
06. Printemps (arr. H. Busser for orchestra): I. Tres modere
07. Printemps (arr. H. Busser for orchestra): II. Modere
08. L'enfant prodigue: Prelude
09. L'enfant prodigue: Cortege
10. L'enfant prodigue: Air de danse
11. Berceuse heroique (version for orchestra)
Recognised internationally as a conductor of the highest calibre, Stéphane Denève took up the post of Music Director of the Royal Scottish National Orchestra in 2005, and has since attracted attention from audiences and critics alike. This May, the conductor bids a fond farewell to Scotland and the RSNO with a series of ‘Au Revoir’ concerts, and of course, this disc of orchestral works by Debussy.
After the impact made by the production of Pelléas et Mélisande in 1902, the next orchestral work by Debussy was awaited with intense interest. La Mer did not disappoint, and is today widely considered to have been crucial in its influence on twentieth-century music. After completing this work, Debussy spent no fewer than seven years wrestling with what were to become Images for orchestra. Some critics were puzzled by the work and suggested that Debussy’s talent might have dried out. They were promptly put right in an article by Ravel, who accused them of ‘slowly closing their eyelids before the rising sun amid loud protestations that night is falling’.
With a sultry flute solo, Prélude à l’après-midi d’un faune opened an astonishing new world for western music. Debussy based this composition on a poem by Mallarmé, who wrote to the composer: ‘I have come from the concert, deeply moved: A miracle! that your illustration of L’Après-midi d’un faune should present no dissonance with my text, other than to venture further, truly, into nostalgia and light…’
The three Nocturnes feature some of Debussy’s most imaginative orchestral writing. In the words of the composer, ‘the title Nocturnes is… not meant to designate the usual form of a nocturne, but rather all the various impressions and the special effects of light that the word would suggest’. Debussy provided descriptions of the three movements. ‘Nuages’, for example, depicts ‘the slow, melancholy procession of the clouds, ending in a grey agony tinged with white’, and also the experience of standing ‘on the Pont de Solférino very late at night. Total silence. The Seine without a ripple, like a tarnished mirror’.
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CD1
01. Images pour orchestre, L. 122: No. 1. Gigues
02. Images pour orchestre, L. 122: No. 2. Iberia: a. Par les rues et par les chemins
03. Images pour orchestre, L. 122: No. 2. Iberia: b. Les parfums de la nuit
04. Images pour orchestre, L. 122: No. 2. Iberia: c. Le matin d'un jour de fete
05. Images pour orchestre, L. 122: No. 3. Rondes de printemps
06. Jeux, L. 126: Prelude
07. Jeux, L. 126: Du fond, a gauche, apparaissent deux jeunes filles craintives
08. Jeux, L. 126: Une des deux jeunes filles danse seule
09. Jeux, L. 126: On apercoit le jeune homme au fond, a gauche, qui semble se cacher
10. Jeux, L. 126: Ils dansent ensemble
11. Jeux, L. 126: Le jeune homme a suivi cette derniere danse par curiosite
12. Jeux, L. 126: Dans l'emportement de leur danse, ils n'ont pas remarque
13. Jeux, L. 126: Pourtant, le jeune homme intervient en ecartant leurs tetes
14. Jeux, L. 126: Ils dansent desormais tous les trois
15. Jeux, L. 126: Une balle de tennis tombe a leurs pieds
16. Nocturnes, L. 91: No. 1. Nuages
17. Nocturnes, L. 91: No. 2. Fetes
18. Nocturnes, L. 91: No. 3. Sirenes
CD2
01. La mer, L. 109: No. 1. De l'aube a midi sur la mer
02. La mer, L. 109: No. 2. Jeux de vagues
03. La mer, L. 109: No. 3. Dialogue du vent et de la mer
04. Prélude à l'après-midi d'un faune, L. 86: Prelude a l'apres-midi d'un faune
05. Marche ecossaise sur un theme populaire (version for orchestra)
06. Printemps (arr. H. Busser for orchestra): I. Tres modere
07. Printemps (arr. H. Busser for orchestra): II. Modere
08. L'enfant prodigue: Prelude
09. L'enfant prodigue: Cortege
10. L'enfant prodigue: Air de danse
11. Berceuse heroique (version for orchestra)
Recognised internationally as a conductor of the highest calibre, Stéphane Denève took up the post of Music Director of the Royal Scottish National Orchestra in 2005, and has since attracted attention from audiences and critics alike. This May, the conductor bids a fond farewell to Scotland and the RSNO with a series of ‘Au Revoir’ concerts, and of course, this disc of orchestral works by Debussy.
After the impact made by the production of Pelléas et Mélisande in 1902, the next orchestral work by Debussy was awaited with intense interest. La Mer did not disappoint, and is today widely considered to have been crucial in its influence on twentieth-century music. After completing this work, Debussy spent no fewer than seven years wrestling with what were to become Images for orchestra. Some critics were puzzled by the work and suggested that Debussy’s talent might have dried out. They were promptly put right in an article by Ravel, who accused them of ‘slowly closing their eyelids before the rising sun amid loud protestations that night is falling’.
With a sultry flute solo, Prélude à l’après-midi d’un faune opened an astonishing new world for western music. Debussy based this composition on a poem by Mallarmé, who wrote to the composer: ‘I have come from the concert, deeply moved: A miracle! that your illustration of L’Après-midi d’un faune should present no dissonance with my text, other than to venture further, truly, into nostalgia and light…’
The three Nocturnes feature some of Debussy’s most imaginative orchestral writing. In the words of the composer, ‘the title Nocturnes is… not meant to designate the usual form of a nocturne, but rather all the various impressions and the special effects of light that the word would suggest’. Debussy provided descriptions of the three movements. ‘Nuages’, for example, depicts ‘the slow, melancholy procession of the clouds, ending in a grey agony tinged with white’, and also the experience of standing ‘on the Pont de Solférino very late at night. Total silence. The Seine without a ripple, like a tarnished mirror’.
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