Davide Bandieri & Guillaume Hersperger - L'Esprit des Six (2019) [Hi-Res]
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BAND/ARTIST: Davide Bandieri, Guillaume Hersperger
- Title: L'Esprit des Six
- Year Of Release: 2019
- Label: Claves Records
- Genre: Classical
- Quality: flac lossless / flac 24bits - 44.1kHz +Booklet
- Total Time: 01:08:38
- Total Size: 266 / 590 mb
- WebSite: Album Preview
Tracklist
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01. Sonata for Clarinet in B-Flat, FP 184: I. Allegro tristamente
02. Sonata for Clarinet in B-Flat, FP 184: II. Romanza
03. Sonata for Clarinet in B-Flat, FP 184: III. Allegro con fuoco
04. Sonate for Clarinet & Bassoon in D Major, FP 32a: I. Allegro
05. Sonate for Clarinet & Bassoon in D Major, FP 32a: II. Romance
06. Sonate for Clarinet & Bassoon in D Major, FP 32a: III. Final
07. Sonata for Two Clarinets, FP 7: I. Presto
08. Sonata for Two Clarinets, FP 7: II. Andante
09. Sonata for Two Clarinets, FP 7: III. Vif
10. Sonatine for Clarinet & Piano, Op. 100: I. Très rude
11. Sonatine for Clarinet & Piano, Op. 100: II. Lent
12. Sonatine for Clarinet & Piano, Op. 100: III. Très rude
13. Duo Concertant for Clarinet & Piano, Op. 351: Vif-Modéré-Vif
14. Caprice for Clarinet & Piano in B-Flat, Op. 335
15. Imaginées III for Clarinet in B-Flat & Piano
16. Arabesque for Clarinet in B-Flat & Piano
17. Sonata for Solo Clarinet: I. Allegro tranquillo
18. Sonata for Solo Clarinet: II. Andantino espressivo
19. Sonata for Solo Clarinet: III. Allegro brioso
20. Sonatine for Clarinet in A & Piano, H. 42: I. Modéré
21. Sonatine for Clarinet in A & Piano, H. 42: II. Lent et soutenu
22. Sonatine for Clarinet in A & Piano, H. 42: III. Vif et rythmique
Les Six came to the fore in 1920s Paris as acolytes of the iconoclastic Erik Satie and briefly caught the spirit of the age before veering off in diverse directions. This ingenious album of clarinet-piano music from either end of their careers. Francis Poulenc, the most lyrical and the only one with a major opera to his credit, can be heard in sonatas from 1918, 1922 and 1962, the earliest having an absolute earworm of an Andante, the kind of music people hummed as they went off to found new colonies.
Darius Milhaud, who could write for any instrument at the drop of a hat, had reached opus 100 by his mid-thirties, a Sonatine with a delicious melting centre. Auric, who spent his life writing film scores, contributed a 1971 Imaginées for clarinet and piano. Tailleferre, who lived longest, wrote a 1973 Arabesque. Honegger is represented by a neat Sonatine of 1921-22. And Durey? There’s nothing here by Durey. There never is.
Davide Bandieri, principal clarinet of the Lausanne Chamber Orchestra, is the driving force here, with pianist Guillaume Hersperger panting to keep up. It’s a fun album that feels almost Twenties in its ésprit.
“The formation of «Les Six» contributed to strengthen our friendship. During two years, we regularly met at my place, every Saturday night. Paul Morand was making cocktails, then we went to a small restaurant up on “Rue Blanche”. The hall of the “Petit Bessonneau” was so small that the “samedistes” occupied it entirely. They indulged themselves without restraint to their exuberance. There were not only composers among us but also performers: Marcelle Meyer, Juliette Meerovitch, Andrée Vaurabourg, the Russian singer Koubitzky; painters: Marie Laurencin, Irène Lagut, Valentine Gross, the fiancee of Jean Hugo, Guy Pierre Fauconnet; writers: Lucien Daudet, Radiguet, a young poet whom Cocteau brought us. After dinner, attracted by the steam rides, the mysterious shops, the “Fille de Mars”, the shooting, the lotteries, the menageries, the din of the mechanical organs with perforated rollers that seemed to grind implacably and simultaneously all the “flonflons” of music-hall and “revues”, we went to the Fair of Montmartre, and sometimes to the Circus Medrano to attend the sketches of the Fratellini which denoted so much imagination and poetry that they were worthy of the Commedia dell’Arte. We ended the evening at my place. Poets read their poems. We played our last works. Some of them, like Auric’s “Adieu New York”, Poulenc’s “Cocardes”, and my “Boeuf sur le toit” were continually rehashing. We even asked Poulenc to play “Cocardes” every Saturday, which he did with the best goodwill in the world. From those meetings where happiness and carelessness seemed to be the only climate, many fruitful collaborations were born; moreover, they determined the character of certain works that flowed from the aesthetics of the music hall.
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01. Sonata for Clarinet in B-Flat, FP 184: I. Allegro tristamente
02. Sonata for Clarinet in B-Flat, FP 184: II. Romanza
03. Sonata for Clarinet in B-Flat, FP 184: III. Allegro con fuoco
04. Sonate for Clarinet & Bassoon in D Major, FP 32a: I. Allegro
05. Sonate for Clarinet & Bassoon in D Major, FP 32a: II. Romance
06. Sonate for Clarinet & Bassoon in D Major, FP 32a: III. Final
07. Sonata for Two Clarinets, FP 7: I. Presto
08. Sonata for Two Clarinets, FP 7: II. Andante
09. Sonata for Two Clarinets, FP 7: III. Vif
10. Sonatine for Clarinet & Piano, Op. 100: I. Très rude
11. Sonatine for Clarinet & Piano, Op. 100: II. Lent
12. Sonatine for Clarinet & Piano, Op. 100: III. Très rude
13. Duo Concertant for Clarinet & Piano, Op. 351: Vif-Modéré-Vif
14. Caprice for Clarinet & Piano in B-Flat, Op. 335
15. Imaginées III for Clarinet in B-Flat & Piano
16. Arabesque for Clarinet in B-Flat & Piano
17. Sonata for Solo Clarinet: I. Allegro tranquillo
18. Sonata for Solo Clarinet: II. Andantino espressivo
19. Sonata for Solo Clarinet: III. Allegro brioso
20. Sonatine for Clarinet in A & Piano, H. 42: I. Modéré
21. Sonatine for Clarinet in A & Piano, H. 42: II. Lent et soutenu
22. Sonatine for Clarinet in A & Piano, H. 42: III. Vif et rythmique
Les Six came to the fore in 1920s Paris as acolytes of the iconoclastic Erik Satie and briefly caught the spirit of the age before veering off in diverse directions. This ingenious album of clarinet-piano music from either end of their careers. Francis Poulenc, the most lyrical and the only one with a major opera to his credit, can be heard in sonatas from 1918, 1922 and 1962, the earliest having an absolute earworm of an Andante, the kind of music people hummed as they went off to found new colonies.
Darius Milhaud, who could write for any instrument at the drop of a hat, had reached opus 100 by his mid-thirties, a Sonatine with a delicious melting centre. Auric, who spent his life writing film scores, contributed a 1971 Imaginées for clarinet and piano. Tailleferre, who lived longest, wrote a 1973 Arabesque. Honegger is represented by a neat Sonatine of 1921-22. And Durey? There’s nothing here by Durey. There never is.
Davide Bandieri, principal clarinet of the Lausanne Chamber Orchestra, is the driving force here, with pianist Guillaume Hersperger panting to keep up. It’s a fun album that feels almost Twenties in its ésprit.
“The formation of «Les Six» contributed to strengthen our friendship. During two years, we regularly met at my place, every Saturday night. Paul Morand was making cocktails, then we went to a small restaurant up on “Rue Blanche”. The hall of the “Petit Bessonneau” was so small that the “samedistes” occupied it entirely. They indulged themselves without restraint to their exuberance. There were not only composers among us but also performers: Marcelle Meyer, Juliette Meerovitch, Andrée Vaurabourg, the Russian singer Koubitzky; painters: Marie Laurencin, Irène Lagut, Valentine Gross, the fiancee of Jean Hugo, Guy Pierre Fauconnet; writers: Lucien Daudet, Radiguet, a young poet whom Cocteau brought us. After dinner, attracted by the steam rides, the mysterious shops, the “Fille de Mars”, the shooting, the lotteries, the menageries, the din of the mechanical organs with perforated rollers that seemed to grind implacably and simultaneously all the “flonflons” of music-hall and “revues”, we went to the Fair of Montmartre, and sometimes to the Circus Medrano to attend the sketches of the Fratellini which denoted so much imagination and poetry that they were worthy of the Commedia dell’Arte. We ended the evening at my place. Poets read their poems. We played our last works. Some of them, like Auric’s “Adieu New York”, Poulenc’s “Cocardes”, and my “Boeuf sur le toit” were continually rehashing. We even asked Poulenc to play “Cocardes” every Saturday, which he did with the best goodwill in the world. From those meetings where happiness and carelessness seemed to be the only climate, many fruitful collaborations were born; moreover, they determined the character of certain works that flowed from the aesthetics of the music hall.
Year 2019 | Classical | FLAC / APE | HD & Vinyl
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