Eline Hensels, Daniël Kramer - Nocturne, et lumineux (2024) [Hi-Res]
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BAND/ARTIST: Eline Hensels, Daniël Kramer
- Title: Nocturne, et lumineux
- Year Of Release: 2024
- Label: TRPTK
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 192.0kHz +Booklet
- Total Time: 01:02:52
- Total Size: 254 mb / 1.94 gb
- WebSite: Album Preview
Tracklist
01. Koechlin Cello Sonata, Op.66 I. Tres modere, et d'allure bien tranquille
02. Koechlin Cello Sonata, Op.66 II. Andante quasi adagio Tres calme
03. Koechlin Cello Sonata, Op.66 III. Final Allegro non troppo
04. Boulanger Trois Pieces I. Modere
05. Boulanger Trois Pieces II. Sans vitesse et a l'aise
06. Boulanger Trois Pieces III. Vite et nerveusement rythme
07. Janacek Pohadka I. Con moto
08. Janacek Pohadka II. Con moto
09. Janacek Pohadka III. Allegro
10. Bosmans Impressions II. Nuit calme
11. Poulenc Cello Sonata, FP 143 I. Allegro – Tempo di Marcia
12. Poulenc Cello Sonata, FP 143 II. Cavatine
13. Poulenc Cello Sonata, FP 143 III. Ballabile
14. Poulenc Cello Sonata, FP 143 IV. Finale
Although Charles Koechlin led an — one could state — almost ‘conventional’ life as a composer, studying at the Paris Conservatoire with Massenet and Fauré and subsequently earning his money as a teacher and composer, his interests stretched long ways beyond just composing. He had a wide range of interests, which can also be assumed to have affected his compositional style. These interests, for instance, included French folksong, Bach chorales, the “Jungle Book”, photography, and most noticeably, astronomy, with the young Koechlin having had aspirations of becoming an astrologist.
In his enormous output of orchestral works, chamber music, and vocal music, this analytical approach is very often present, which leads to a highly personal and immediately recognisable musical style. In the Cello Sonata, which was written in 1917 and premiered in 1924, we can almost imagine ourselves under a heaven of stars, with melodies that effortlessly seem to flow in and out of the musical landscape present, and underlying patterns sometimes being very hard to decipher, if at all present. In all of this, rhythm and time signature seem to be floating freely in time and space, especially in the first two movements, of which the first movement is somewhat brighter in tone than the second movement, the latter featuring some rather dark colours, aided by the performance indication “en somme” (sleeping). In the third movement, some more agitation seems to occur, which however seems to come along with a slightly brighter the mood, especially considering the movement preceding it. After a number of climaxes that however never get overwhelming or emotionally intense, the movement, and with it the sonata, ends in a calm and soothing manner.
01. Koechlin Cello Sonata, Op.66 I. Tres modere, et d'allure bien tranquille
02. Koechlin Cello Sonata, Op.66 II. Andante quasi adagio Tres calme
03. Koechlin Cello Sonata, Op.66 III. Final Allegro non troppo
04. Boulanger Trois Pieces I. Modere
05. Boulanger Trois Pieces II. Sans vitesse et a l'aise
06. Boulanger Trois Pieces III. Vite et nerveusement rythme
07. Janacek Pohadka I. Con moto
08. Janacek Pohadka II. Con moto
09. Janacek Pohadka III. Allegro
10. Bosmans Impressions II. Nuit calme
11. Poulenc Cello Sonata, FP 143 I. Allegro – Tempo di Marcia
12. Poulenc Cello Sonata, FP 143 II. Cavatine
13. Poulenc Cello Sonata, FP 143 III. Ballabile
14. Poulenc Cello Sonata, FP 143 IV. Finale
Although Charles Koechlin led an — one could state — almost ‘conventional’ life as a composer, studying at the Paris Conservatoire with Massenet and Fauré and subsequently earning his money as a teacher and composer, his interests stretched long ways beyond just composing. He had a wide range of interests, which can also be assumed to have affected his compositional style. These interests, for instance, included French folksong, Bach chorales, the “Jungle Book”, photography, and most noticeably, astronomy, with the young Koechlin having had aspirations of becoming an astrologist.
In his enormous output of orchestral works, chamber music, and vocal music, this analytical approach is very often present, which leads to a highly personal and immediately recognisable musical style. In the Cello Sonata, which was written in 1917 and premiered in 1924, we can almost imagine ourselves under a heaven of stars, with melodies that effortlessly seem to flow in and out of the musical landscape present, and underlying patterns sometimes being very hard to decipher, if at all present. In all of this, rhythm and time signature seem to be floating freely in time and space, especially in the first two movements, of which the first movement is somewhat brighter in tone than the second movement, the latter featuring some rather dark colours, aided by the performance indication “en somme” (sleeping). In the third movement, some more agitation seems to occur, which however seems to come along with a slightly brighter the mood, especially considering the movement preceding it. After a number of climaxes that however never get overwhelming or emotionally intense, the movement, and with it the sonata, ends in a calm and soothing manner.
Year 2024 | Classical | FLAC / APE | HD & Vinyl
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