Stefan Schilli - Koechlin: Chamber Music for Oboe & Other Instruments (2015)
BAND/ARTIST: Stefan Schilli
- Title: Koechlin: Chamber Music for Oboe & Other Instruments
- Year Of Release: 2015
- Label: Oehms Classics
- Genre: Classical
- Quality: flac lossless
- Total Time: 01:02:36
- Total Size: 228 mb
- WebSite: Album Preview
Tracklist
01. Oboe Sonata, Op. 58: I. Allegro moderato. Pastorale - La terre - Les travaux des champs - Le soir très modéré mais sans lenteur
02. Oboe Sonata, Op. 58: II. Scherzo. Danses de faunes. Allegro vivo
03. Oboe Sonata, Op. 58: III. Andante. Le soir dans la campagne. Très calme, presque adagio
04. Oboe Sonata, Op. 58: IV. Finale. Allegro moderato, sans trainer
05. Oboe Trio, Op. 206: I. Choral. Grave et serein, presque adagio
06. Oboe Trio, Op. 206: II. Fugue. Allegro non troppo
07. Oboe Trio, Op. 206: III. Andante. Très calme
08. Oboe Trio, Op. 206: IV. Final. Allegro
09. Au loin, Op. 20 No. 2 (Arr. for Oboe & Piano)
10. Sonate à 7, Op. 221: I. Andante
11. Sonate à 7, Op. 221: II. Allegro
12. Sonate à 7, Op. 221: III. Andante
13. Sonate à 7, Op. 221: IV. Allegro
14. 11 Monodies, Op. 216: No. 10, Le repos de Tityre. Très calme, dans le sentiment d'une pastorale
György Ligeti once described Charles Koechlin (1867-1950) as the most important link between Debussy and Messiaen . But despite its often uncategorisable individuality and beauty, Koechlin's music remains underperformed and under-recorded. His output was huge more than 250 works but only a fraction of it is easily available on disc. In recent years, additions to that discography have appeared just about annually, and though this disc, featuring the oboist Stefan Schilli and other principals from the Bavarian Radio Symphony Orchestra, might seem quite a modest collection of chamber works, it does include early and late pieces. All are strangely haunting and played with elegance and consummate refinement by Schilli and his colleagues. The real discovery among them is the Sonate à sept, Op 221, for the surely unique combination of flute, oboe, string quartet and harp, which Koechlin completed in the years before his death four tiny movements that seem to edge the musical world of Koechlin's teacher Fauré towards that of the Second Viennese School while a trio for oboe, clarinet and bassoon from 1945 is one of Koechlin's experiments in polytonality, with each instrumental part notated in a different key. From the same period, there's also a restrained monody for solo oboe d'amore, Le Repose de Tityre, while the earlier pieces include a substantial oboe sonata composed between 1911 and 1916, in which Fauré's influence is much more obvious, but which still has a suppleness and teasing irregularity about its phrasing that are very much Koechlin's own.
01. Oboe Sonata, Op. 58: I. Allegro moderato. Pastorale - La terre - Les travaux des champs - Le soir très modéré mais sans lenteur
02. Oboe Sonata, Op. 58: II. Scherzo. Danses de faunes. Allegro vivo
03. Oboe Sonata, Op. 58: III. Andante. Le soir dans la campagne. Très calme, presque adagio
04. Oboe Sonata, Op. 58: IV. Finale. Allegro moderato, sans trainer
05. Oboe Trio, Op. 206: I. Choral. Grave et serein, presque adagio
06. Oboe Trio, Op. 206: II. Fugue. Allegro non troppo
07. Oboe Trio, Op. 206: III. Andante. Très calme
08. Oboe Trio, Op. 206: IV. Final. Allegro
09. Au loin, Op. 20 No. 2 (Arr. for Oboe & Piano)
10. Sonate à 7, Op. 221: I. Andante
11. Sonate à 7, Op. 221: II. Allegro
12. Sonate à 7, Op. 221: III. Andante
13. Sonate à 7, Op. 221: IV. Allegro
14. 11 Monodies, Op. 216: No. 10, Le repos de Tityre. Très calme, dans le sentiment d'une pastorale
György Ligeti once described Charles Koechlin (1867-1950) as the most important link between Debussy and Messiaen . But despite its often uncategorisable individuality and beauty, Koechlin's music remains underperformed and under-recorded. His output was huge more than 250 works but only a fraction of it is easily available on disc. In recent years, additions to that discography have appeared just about annually, and though this disc, featuring the oboist Stefan Schilli and other principals from the Bavarian Radio Symphony Orchestra, might seem quite a modest collection of chamber works, it does include early and late pieces. All are strangely haunting and played with elegance and consummate refinement by Schilli and his colleagues. The real discovery among them is the Sonate à sept, Op 221, for the surely unique combination of flute, oboe, string quartet and harp, which Koechlin completed in the years before his death four tiny movements that seem to edge the musical world of Koechlin's teacher Fauré towards that of the Second Viennese School while a trio for oboe, clarinet and bassoon from 1945 is one of Koechlin's experiments in polytonality, with each instrumental part notated in a different key. From the same period, there's also a restrained monody for solo oboe d'amore, Le Repose de Tityre, while the earlier pieces include a substantial oboe sonata composed between 1911 and 1916, in which Fauré's influence is much more obvious, but which still has a suppleness and teasing irregularity about its phrasing that are very much Koechlin's own.
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