Ensemble In Canto, Fabio Maestri - 3x7, Stravinsky, Poulenc, Satie, Septets (2024) [Hi-Res]
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BAND/ARTIST: Ensemble In Canto, Fabio Maestri
- Title: 3x7, Stravinsky, Poulenc, Satie, Septets
- Year Of Release: 2024
- Label: Brilliant Classics
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 48.0kHz
- Total Time: 01:04:12
- Total Size: 303 / 646 mb
- WebSite: Album Preview
Tracklist
01. L'histoire du soldat, K029: I. Marche du Soldat
02. L'histoire du soldat, K029: II. Musique de la 1re scène. Petits airs au bord du Ruisseau
03. L'histoire du soldat, K029: III. Musique de la 2e scène. Pastorale
04. L'histoire du soldat, K029: IV. Marche Royale
05. L'histoire du soldat, K029: V. Petit Concert
06. L'histoire du soldat, K029: VI. Trois danses. Tango, valse, Ragtime
07. L'histoire du soldat, K029: VII. Danse du Diable
08. L'histoire du soldat, K029: VIII. Grand Choral
09. L'histoire du soldat, K029: IX. Marche triomphale du Diable
10. Suite du gendarme incompris, FP 20b: I. Ouverture
11. Suite du gendarme incompris, FP 20b: II. Valse
12. Suite du gendarme incompris, FP 20b: III. Madrigal
13. Suite du gendarme incompris, FP 20b: IV. Final
14. Sonate pour clarinette et basson, FP 32a: I. Allegro
15. Sonate pour clarinette et basson, FP 32a: II. Romance
16. Sonate pour clarinette et basson, FP 32a: III. Final
17. Le piège de Méduse: I. Quadrille
18. Le piège de Méduse: II. Valse
19. Le piège de Méduse: III. Pas Vite
20. Le piège de Méduse: IV. Mazurka
21. Le piège de Méduse: V. Un peu Vif
22. Le piège de Méduse: VI. Polka
23. Le piège de Méduse: VII. Quadrille
24. Les Trois Valses distinguées du précieux Dégoûté: I. Sa Taille
25. Les Trois Valses distinguées du précieux Dégoûté: II. Son Binocle
26. Les Trois Valses distinguées du précieux Dégoûté: III. Ses Jambes
27. Septet, K080: I. = 88
28. Septet, K080: II. Passacaglia
29. Septet, K080: III. Gigue
3x7 – multiply 3 composers by 7 instruments: the maximum ensemble size (in various configurations) used on this programme full of shared references, symmetries and events stemming from the proximity of three musicians who all bore witness to and played an active role in the unique artistic world of début du siècle Paris.
In a well-known statement, Igor Stravinsky, who took refuge in Morges in neutral Switzerland in 1917, described L’Histoire du soldat as ‘wartime theatre’ envisaging an itinerant company small enough to tour a circuit of Swiss villages with a story simple enough to be easily understood.
Although the tour never took place, L’Histoire opened the way for a new concept in musical theatre, and as the Suite (1919) demonstrates, the seven parts, in pairs of high- and low-pitched instruments of each family (violin/double bass, clarinet/bassoon, cornet/trombone) plus percussion (for the devil’s sorcery), can even do without the narrator.
In 1921 Francis Poulenc and his mentor Erik Satie each contributed to a théâtre bouffe show with Le Gendarme incompris and Le Piège de Méduse, respectively.
These two works actively sought provocation and scandal, with incredibly surreal plots and nonsense scenarios. Poulenc used his incidental music as the basis for a four-section Suite for a seven-strong ‘small orchestra’.
Satie, meanwhile, reused his seven Toutes Petites Danses for piano, arranging them for the same seven-instrument ensemble as Poulenc. Satie’s Trois Valses distinguées du précieux dégoûté are strongly connected to Le Piège.
They are a merciless portrait of a highly refined dandy, easily recognisable as Ravel, who had recently written some waltzes (the Valses nobles et sentimentales) of his own. Poulenc’s Sonata for clarinet and bassoon takes full advantage of the timbral qualities of the two woodwind instruments (the same used by Stravinsky in L’Histoire) and fits perfectly into the climate that led to Cocteau’s rappel à l’ordre (‘return to order’) and the end of the Parisian avant-garde’s most revolutionary and experimental period.
Many years later Stravinsky, having emigrated to the USA, composed one of his most important works from his late period (having embraced serialism): the Septet. As well as a sophisticated piece of musical arithmetic and a work of exemplary compositional rigour, it also demonstrates masterful symmetry, not least in its new seven-instrument ensemble which ‘balances’ the piano between three strings and three wind instruments – a choice far removed from the scoring of its direct counterpart, L’Histoire – bringing the programme full circle.
01. L'histoire du soldat, K029: I. Marche du Soldat
02. L'histoire du soldat, K029: II. Musique de la 1re scène. Petits airs au bord du Ruisseau
03. L'histoire du soldat, K029: III. Musique de la 2e scène. Pastorale
04. L'histoire du soldat, K029: IV. Marche Royale
05. L'histoire du soldat, K029: V. Petit Concert
06. L'histoire du soldat, K029: VI. Trois danses. Tango, valse, Ragtime
07. L'histoire du soldat, K029: VII. Danse du Diable
08. L'histoire du soldat, K029: VIII. Grand Choral
09. L'histoire du soldat, K029: IX. Marche triomphale du Diable
10. Suite du gendarme incompris, FP 20b: I. Ouverture
11. Suite du gendarme incompris, FP 20b: II. Valse
12. Suite du gendarme incompris, FP 20b: III. Madrigal
13. Suite du gendarme incompris, FP 20b: IV. Final
14. Sonate pour clarinette et basson, FP 32a: I. Allegro
15. Sonate pour clarinette et basson, FP 32a: II. Romance
16. Sonate pour clarinette et basson, FP 32a: III. Final
17. Le piège de Méduse: I. Quadrille
18. Le piège de Méduse: II. Valse
19. Le piège de Méduse: III. Pas Vite
20. Le piège de Méduse: IV. Mazurka
21. Le piège de Méduse: V. Un peu Vif
22. Le piège de Méduse: VI. Polka
23. Le piège de Méduse: VII. Quadrille
24. Les Trois Valses distinguées du précieux Dégoûté: I. Sa Taille
25. Les Trois Valses distinguées du précieux Dégoûté: II. Son Binocle
26. Les Trois Valses distinguées du précieux Dégoûté: III. Ses Jambes
27. Septet, K080: I. = 88
28. Septet, K080: II. Passacaglia
29. Septet, K080: III. Gigue
3x7 – multiply 3 composers by 7 instruments: the maximum ensemble size (in various configurations) used on this programme full of shared references, symmetries and events stemming from the proximity of three musicians who all bore witness to and played an active role in the unique artistic world of début du siècle Paris.
In a well-known statement, Igor Stravinsky, who took refuge in Morges in neutral Switzerland in 1917, described L’Histoire du soldat as ‘wartime theatre’ envisaging an itinerant company small enough to tour a circuit of Swiss villages with a story simple enough to be easily understood.
Although the tour never took place, L’Histoire opened the way for a new concept in musical theatre, and as the Suite (1919) demonstrates, the seven parts, in pairs of high- and low-pitched instruments of each family (violin/double bass, clarinet/bassoon, cornet/trombone) plus percussion (for the devil’s sorcery), can even do without the narrator.
In 1921 Francis Poulenc and his mentor Erik Satie each contributed to a théâtre bouffe show with Le Gendarme incompris and Le Piège de Méduse, respectively.
These two works actively sought provocation and scandal, with incredibly surreal plots and nonsense scenarios. Poulenc used his incidental music as the basis for a four-section Suite for a seven-strong ‘small orchestra’.
Satie, meanwhile, reused his seven Toutes Petites Danses for piano, arranging them for the same seven-instrument ensemble as Poulenc. Satie’s Trois Valses distinguées du précieux dégoûté are strongly connected to Le Piège.
They are a merciless portrait of a highly refined dandy, easily recognisable as Ravel, who had recently written some waltzes (the Valses nobles et sentimentales) of his own. Poulenc’s Sonata for clarinet and bassoon takes full advantage of the timbral qualities of the two woodwind instruments (the same used by Stravinsky in L’Histoire) and fits perfectly into the climate that led to Cocteau’s rappel à l’ordre (‘return to order’) and the end of the Parisian avant-garde’s most revolutionary and experimental period.
Many years later Stravinsky, having emigrated to the USA, composed one of his most important works from his late period (having embraced serialism): the Septet. As well as a sophisticated piece of musical arithmetic and a work of exemplary compositional rigour, it also demonstrates masterful symmetry, not least in its new seven-instrument ensemble which ‘balances’ the piano between three strings and three wind instruments – a choice far removed from the scoring of its direct counterpart, L’Histoire – bringing the programme full circle.
Year 2024 | Classical | FLAC / APE | HD & Vinyl
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