Jean Frédéric Neuburger - Barraqué: Piano Sonata (2011) [Hi-Res]
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BAND/ARTIST: Jean Frédéric Neuburger
- Title: Barraqué: Piano Sonata
- Year Of Release: 2014
- Label: Mirare
- Genre: Classical Piano
- Quality: flac lossless / flac 24bits - 44.1kHz
- Total Time: 01:15:04
- Total Size: 255 / 588 mb
- WebSite: Album Preview
Tracklist
01. Harmonies poetiques et religieuses Funerailles
02. Maldoror
03. Sonate pour piano Premiere partie
04. Sonate pour piano Deuxieme partie
05. Livre II, Et la lune descend sur le temple qui fut.
![Jean Frédéric Neuburger - Barraqué: Piano Sonata (2011) [Hi-Res]](https://www.dibpic.com/uploads/posts/2020-11/1605796097_jean-frederic-neuburger-barraque-piano-sonata-2011-back.jpg)
'Maldoror' is a fantastic panorama lasting around twenty minutes, freely inspired by the poetic and subversive universe of Lautréamont's 'Chants de Maldoror' (1868). One may detect in it a hotchpotch of influences, including Stockhausen, Xenakis for the fragmentation of the piano at certain points, and probably even the Schumann of the Phantasiestücke. In addition to the traditional virtuosity demanded by the work, the pianist must prepare the strings of four bass notes in order to produce a deformed sound, more percussive in nature, while still retaining the resonant aspect of the piano. However, we are not dealing here with a genuine percussion-piano in the manner of John Cage, but rather an imaginary organ pedalboard and deformations, almost to the point of ugliness, of the attacks in the instrument's bottom register.
01. Harmonies poetiques et religieuses Funerailles
02. Maldoror
03. Sonate pour piano Premiere partie
04. Sonate pour piano Deuxieme partie
05. Livre II, Et la lune descend sur le temple qui fut.
'Maldoror' is a fantastic panorama lasting around twenty minutes, freely inspired by the poetic and subversive universe of Lautréamont's 'Chants de Maldoror' (1868). One may detect in it a hotchpotch of influences, including Stockhausen, Xenakis for the fragmentation of the piano at certain points, and probably even the Schumann of the Phantasiestücke. In addition to the traditional virtuosity demanded by the work, the pianist must prepare the strings of four bass notes in order to produce a deformed sound, more percussive in nature, while still retaining the resonant aspect of the piano. However, we are not dealing here with a genuine percussion-piano in the manner of John Cage, but rather an imaginary organ pedalboard and deformations, almost to the point of ugliness, of the attacks in the instrument's bottom register.
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