Jean-Jacques Kantorow, Orchestre de Douai - Région Hauts-de-France & Orchestre symphonique de RTL - Pierre Wissmer: Musique Symphonique & Concertos (2021) [Hi-Res]
![Jean-Jacques Kantorow, Orchestre de Douai - Région Hauts-de-France & Orchestre symphonique de RTL - Pierre Wissmer: Musique Symphonique & Concertos (2021) [Hi-Res]](https://www.dibpic.com/uploads/posts/2021-04/1618533012_jean-jacques-kantorow-pierre-wissmer-musique-symphonique-concertos-2021.jpg)
BAND/ARTIST: Jean-Jacques Kantorow, Orchestre de Douai - Région Hauts-de-France, Orchestre symphonique de RTL
- Title: Pierre Wissmer: Musique Symphonique & Concertos
- Year Of Release: 2021
- Label: Claves Records
- Genre: Classical
- Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:53:14
- Total Size: 518 mb / 1.14 gb
- WebSite: Album Preview
Tracklist
CD1
01. Divertimento: I.
02. Divertimento: II.
03. Divertimento: III.
04. Concerto pour clarinette et orchestre: I. Allegro
05. Concerto pour clarinette et orchestre: II. Moderato assai
06. Concerto pour clarinette et orchestre: III. Allegro
07. Concerto pour guitare et orchestre: I. Allegro
08. Concerto pour guitare et orchestre: II. Andante
09. Concerto pour guitare et orchestre: III. Allegro scherzando
CD2 16bit only
01. Concerto No. 3 pour piano et orchestre: I. Allegro ritmico e sportivo (Archives)
02. Concerto No. 3 pour piano et orchestre: II. Andante romantico (Archives)
03. Concerto No. 3 pour piano et orchestre: III. Introduzione. Allegro con brio (Archives)
04. Suite symphonique du ballet "Alerte, puits 21 !": Prologue. La Descente. Le Monde fantastique. Multiplication d’Eurydice. Interlude. Gouttes d’eau. Pas d’action et Pas de trois. Pas de deux. Finale
![Jean-Jacques Kantorow, Orchestre de Douai - Région Hauts-de-France & Orchestre symphonique de RTL - Pierre Wissmer: Musique Symphonique & Concertos (2021) [Hi-Res]](https://www.dibpic.com/uploads/posts/2021-04/1618533034_jean-jacques-kantorow-pierre-wissmer-musique-symphonique-concertos-2021-back.jpg)
Born in Geneva, Pierre Wissmer (1915-1992) studied music at the Conservatory of his native city, before leaving for Paris in 1935 where he first worked with Roger-Ducasse, then Daniel-Lesur with whom he perfected his skills. Parallel to his creative career, the musician carried out substantial pedagogical activity which led him to teach musical writing, orchestration and composition at the Schola Cantorum (Paris), the Le Mans Conservatory where he became the director, and the Geneva Conservatory of Music. Similar to Aloÿs Fornerod or Jean Dupérier, he is one of the French-speaking Swiss musicians resolutely committed to France, and in his own way, profoundly influenced by Fauré, Debussy, Ravel or Roussel.
Pierre Wissmer’s style–imbued with a neo-classicism that also manifests the influence of Stravinsky–moved over the years towards both a more distanced relationship with tonality and a more introspective language, notably in his last symphonies. A master of instrumentation, Wissmer excelled in the interaction between soloist and orchestra all the while cultivating with delight the genre of the concerto, in the manner of André Jolivet or Henri Tomasi. If he devoted three concertos to the piano, three to the violin, and four to wind instruments (clarinet, flute, oboe, and trumpet), he also turned to rarer combinations: Concerto for guitar, Symphony Concertante for flute, harp and orchestra, or concerto for orchestra (Concerto valcrosiano).
The guitar holds a significant place in Pierre Wissmer’s catalog; after his Concerto for guitar and orchestra composed in 1954, he wrote several pieces for two guitars, a Partita for this instrument, and he used it in various vocal and instrumental scores.
The Concerto calls for a chamber orchestra that includes wind instruments in pairs. In order to ensure a balance between a solo instrument with limited sound amplitude and a relatively expanded orchestral formation, the composer frequently treats the guitar as a solo instrument alternating with purely orchestral sequences. In passages that bring soloist and orchestra together, the latter is reduced to a very small number of instruments.
CD1
01. Divertimento: I.
02. Divertimento: II.
03. Divertimento: III.
04. Concerto pour clarinette et orchestre: I. Allegro
05. Concerto pour clarinette et orchestre: II. Moderato assai
06. Concerto pour clarinette et orchestre: III. Allegro
07. Concerto pour guitare et orchestre: I. Allegro
08. Concerto pour guitare et orchestre: II. Andante
09. Concerto pour guitare et orchestre: III. Allegro scherzando
CD2 16bit only
01. Concerto No. 3 pour piano et orchestre: I. Allegro ritmico e sportivo (Archives)
02. Concerto No. 3 pour piano et orchestre: II. Andante romantico (Archives)
03. Concerto No. 3 pour piano et orchestre: III. Introduzione. Allegro con brio (Archives)
04. Suite symphonique du ballet "Alerte, puits 21 !": Prologue. La Descente. Le Monde fantastique. Multiplication d’Eurydice. Interlude. Gouttes d’eau. Pas d’action et Pas de trois. Pas de deux. Finale
Born in Geneva, Pierre Wissmer (1915-1992) studied music at the Conservatory of his native city, before leaving for Paris in 1935 where he first worked with Roger-Ducasse, then Daniel-Lesur with whom he perfected his skills. Parallel to his creative career, the musician carried out substantial pedagogical activity which led him to teach musical writing, orchestration and composition at the Schola Cantorum (Paris), the Le Mans Conservatory where he became the director, and the Geneva Conservatory of Music. Similar to Aloÿs Fornerod or Jean Dupérier, he is one of the French-speaking Swiss musicians resolutely committed to France, and in his own way, profoundly influenced by Fauré, Debussy, Ravel or Roussel.
Pierre Wissmer’s style–imbued with a neo-classicism that also manifests the influence of Stravinsky–moved over the years towards both a more distanced relationship with tonality and a more introspective language, notably in his last symphonies. A master of instrumentation, Wissmer excelled in the interaction between soloist and orchestra all the while cultivating with delight the genre of the concerto, in the manner of André Jolivet or Henri Tomasi. If he devoted three concertos to the piano, three to the violin, and four to wind instruments (clarinet, flute, oboe, and trumpet), he also turned to rarer combinations: Concerto for guitar, Symphony Concertante for flute, harp and orchestra, or concerto for orchestra (Concerto valcrosiano).
The guitar holds a significant place in Pierre Wissmer’s catalog; after his Concerto for guitar and orchestra composed in 1954, he wrote several pieces for two guitars, a Partita for this instrument, and he used it in various vocal and instrumental scores.
The Concerto calls for a chamber orchestra that includes wind instruments in pairs. In order to ensure a balance between a solo instrument with limited sound amplitude and a relatively expanded orchestral formation, the composer frequently treats the guitar as a solo instrument alternating with purely orchestral sequences. In passages that bring soloist and orchestra together, the latter is reduced to a very small number of instruments.
Year 2021 | Classical | FLAC / APE | HD & Vinyl
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