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Annette Betanski - In the Twilight: Romantic Music for Soprano, Horn and Piano (2001/2020)

Annette Betanski - In the Twilight: Romantic Music for Soprano, Horn and Piano (2001/2020)

BAND/ARTIST: Annette Betanski

  • Title: In the Twilight: Romantic Music for Soprano, Horn and Piano
  • Year Of Release: 2001/2020
  • Label: Soundset
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 72:48 min
  • Total Size: 239 MB
  • WebSite:
Tracklist:

01. Alphorn, TrV 64
02. Amours bénis
03. Les yeux clos
04. Élégie
05. Auf dem Strom, D. 943
06. J'ai peur de l'aimer
07. Four Irish Songs: I. Lovely Jimmie
08. Four Irish Songs: II. Poor Auld Ass
09. Four Irish Songs: III. Lovely Armoy
10. Four Irish Songs: IV. Linking O'er the Lea
11. Le jeune Pâtre breton, H 65
12. 3 Lieder, Op. 30: I. Herbst
13. Waldklänge, Op. 28: I. Waldvöglein
14. 4 Lieder, Op. 27: IV. Fragen
15. Le Soir
16. Nocturnes: I. The Moon
17. Nocturnes: II. Returning, We Hear the Larks
18. Nocturnes: III. River Roses
19. Nocturnes: IV. The Owl
20. Nocturnes: V. Boat Song

This recital of music for soprano, horn, and piano includes several transcriptions, particularly works that originally used cello, but a surprising number were specifically written for this ensemble. The best known is Schubert's sublime Auf dem Strom, but there are also songs by Richard Strauss, Berlioz, Franz Paul Lachner, Arnold Cooke, and a set of folk song arrangements by Havelock Nelson. The combination of voice, horn, and piano is an especially euphonious one, so it's wonderful to find that it has this large a repertoire, including the transcriptions. The late nineteenth century songs, by Strauss, Massenet, and Gounod are especially attractive. Nelson's Four Irish Songs are idiomatically written and melodically memorable. Arnold Cooke's cycle Nocturne is thematically related to Britten's Serenade for tenor, horn, and strings. It's an attractive piece, but his settings lack the distinctiveness and variety of Britten's. Soprano Annette Betanski's voice is not large or sumptuous, and the recording acoustic doesn't do her any favors, but her tone is pure, her technique is secure, and she is fully invested in these songs. James Sommerville, principal horn of the Boston Symphony plays with warm tone, finesse, and absolute confidence, but he also has a restraint where some of these songs call for more abandon. Pianist Rena Sharon's accompaniments are sensitive, and she plays attentiveness to the soloists. The CD should be of interest to fans of the horn in chamber music and of Romantic vocal music.


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