Lajos Lencsés, Suedwestdeutsches Kammerorchester Pforzheim, Vladislav Czarnecki, Parisii-Quartett, Francaix-Trio - Françaix: L'horloge de Flore, Cor anglais Quartet, Oboe Trio & String Quartet (2006)
BAND/ARTIST: Lajos Lencsés, Suedwestdeutsches Kammerorchester Pforzheim, Vladislav Czarnecki, Parisii-Quartett, Francaix-Trio
- Title: Françaix: L'horloge de Flore, Cor anglais Quartet, Oboe Trio & String Quartet
- Year Of Release: 2006
- Label: CPO
- Genre: Classical
- Quality: flac lossless (tracks)
- Total Time: 01:00:18
- Total Size: 237 mb
- WebSite: Album Preview
Tracklist
01. L'horloge de Flore: I. 3 Heures. Galant de jour
02. L'horloge de Flore: II. 5 Heures. Cupidone bleue
03. L'horloge de Flore: III. 10 Heures. Cierge à grandes fleurs
04. L'horloge de Flore: IV. 12 Heures. Nyctanthe du Malabar
05. L'horloge de Flore: V. 17 Heures. Belle de nuit
06. L'horloge de Flore: VI. 19 Heures. Geranium triste
07. L'horloge de Flore: VII. 21 Heures. Silene noctiflore
08. Cor anglais Quartet: I. Allegro vivace
09. Cor anglais Quartet: II. Andante tranquillo
10. Cor anglais Quartet: III. Vivace assai
11. Cor anglais Quartet: IV. Andantino
12. Cor anglais Quartet: V. Allegro giocoso
13. Trio for Oboe, Bassoon & Piano: I. Adagio. Allegro moderato
14. Trio for Oboe, Bassoon & Piano: II. Scherzo
15. Trio for Oboe, Bassoon & Piano: III. Andante
16. Trio for Oboe, Bassoon & Piano: IV. Finale
17. String Quartet: I. Allegro vivace
18. String Quartet: II. Andante
19. String Quartet: III. Scherzo. Preto
20. String Quartet: IV. Allegretto moderato - Sub lento e molto sostenuto
The music of Jean Françaix drew on the neo-Classic sounds he heard as he came of age, and he kept composing until the last decades of the twentieth century, altering his style but little in the face of successive avant-gardes that sought to have their way with the musical world. Often he seemed to simplify his music, but it was a deceptive simplicity, with jocular or lyrical tonal melodies underlaid with subtle rhythms and finished off with expert workmanship. His chamber music, instantly appealing for anybody, has always held a place on concert programs. L'horloge de Flore (1959), for oboe and a small orchestra, offers a good example of his style at its most accessible. The floral clock intended to be evoked in the work is not just the conventional arrangement of flowers in a clock-face pattern, but a rarer type of different kinds of flowers that open at specific times of day. The music seems more suggestive of the dayparts themselves than of flowers (some of it certainly sounds like Prelude to the Afternoon of a Faun), but this may be because the booklet gives the names of the flowers only in French; the music might seem more flower-like if listeners knew what they were dealing with. The third movement, "Dix heures. Cierge à grande fleures," offers a good example of Françaix's limpid style, with its duple oboe melody raising a subtle tension with the sarabande-like rhythm in the orchestra. The two chamber works that follow, one a quartet for English horn and strings and the other a trio for oboe, bassoon, and piano, are somewhat denser harmonically but still make themselves crystal clear to the listener. It is hard to tell when they were written from the scattered and confused booklet notes, apparently a patchwork job by several contributors. The final string quartet was an early work, rather slack in parts but with Françaix's characteristic style already visible. This all-German performance, featuring Stuttgart Radio Symphony oboist Lajos Lencses, has all the lightness and transparency one could wish for.
01. L'horloge de Flore: I. 3 Heures. Galant de jour
02. L'horloge de Flore: II. 5 Heures. Cupidone bleue
03. L'horloge de Flore: III. 10 Heures. Cierge à grandes fleurs
04. L'horloge de Flore: IV. 12 Heures. Nyctanthe du Malabar
05. L'horloge de Flore: V. 17 Heures. Belle de nuit
06. L'horloge de Flore: VI. 19 Heures. Geranium triste
07. L'horloge de Flore: VII. 21 Heures. Silene noctiflore
08. Cor anglais Quartet: I. Allegro vivace
09. Cor anglais Quartet: II. Andante tranquillo
10. Cor anglais Quartet: III. Vivace assai
11. Cor anglais Quartet: IV. Andantino
12. Cor anglais Quartet: V. Allegro giocoso
13. Trio for Oboe, Bassoon & Piano: I. Adagio. Allegro moderato
14. Trio for Oboe, Bassoon & Piano: II. Scherzo
15. Trio for Oboe, Bassoon & Piano: III. Andante
16. Trio for Oboe, Bassoon & Piano: IV. Finale
17. String Quartet: I. Allegro vivace
18. String Quartet: II. Andante
19. String Quartet: III. Scherzo. Preto
20. String Quartet: IV. Allegretto moderato - Sub lento e molto sostenuto
The music of Jean Françaix drew on the neo-Classic sounds he heard as he came of age, and he kept composing until the last decades of the twentieth century, altering his style but little in the face of successive avant-gardes that sought to have their way with the musical world. Often he seemed to simplify his music, but it was a deceptive simplicity, with jocular or lyrical tonal melodies underlaid with subtle rhythms and finished off with expert workmanship. His chamber music, instantly appealing for anybody, has always held a place on concert programs. L'horloge de Flore (1959), for oboe and a small orchestra, offers a good example of his style at its most accessible. The floral clock intended to be evoked in the work is not just the conventional arrangement of flowers in a clock-face pattern, but a rarer type of different kinds of flowers that open at specific times of day. The music seems more suggestive of the dayparts themselves than of flowers (some of it certainly sounds like Prelude to the Afternoon of a Faun), but this may be because the booklet gives the names of the flowers only in French; the music might seem more flower-like if listeners knew what they were dealing with. The third movement, "Dix heures. Cierge à grande fleures," offers a good example of Françaix's limpid style, with its duple oboe melody raising a subtle tension with the sarabande-like rhythm in the orchestra. The two chamber works that follow, one a quartet for English horn and strings and the other a trio for oboe, bassoon, and piano, are somewhat denser harmonically but still make themselves crystal clear to the listener. It is hard to tell when they were written from the scattered and confused booklet notes, apparently a patchwork job by several contributors. The final string quartet was an early work, rather slack in parts but with Françaix's characteristic style already visible. This all-German performance, featuring Stuttgart Radio Symphony oboist Lajos Lencses, has all the lightness and transparency one could wish for.
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