Jessica Martin Maresco, Ensemble Op.Cit & Guillaume Bourgogne – Schoenberg: Pierrot lunaire (2024) [Official Digital Download 24bit/48kHz]

Jessica Martin Maresco, Ensemble Op.Cit & Guillaume Bourgogne – Schoenberg: Pierrot lunaire (2024)
FLAC (tracks) 24 bit/48 kHz | Time – 01:13:37 minutes | 708 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Klarthe Records

When he wrote the cycle that was to change the musical course of the twentieth century, Arnold Schönberg wanted the 21 melodramas based on Albert Giraud’s famous collection of poems to be ‘spoken and sung’ in the language of the country in which they were set, in keeping with the fledgling Berlin cabaret tradition… In doing so, he may not have appreciated the problems that the exercise would pose. The fate of Albert Giraud’s verses is inextricably linked to Otto Erich Hartleben’s free translation of them. It was in this version that they were most frequently set to music. Stripped of their rhymes and original metre, they are in fact another poetic work. When Darius Milhaud presented Schönberg with a French version recited by Marya Freund in 1922, the composer was disappointed and went so far as to say that he did not recognise his own work!

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Ensemble Cairn, Guillaume Bourgogne – Pesson: Blanc mérité (2018) [Official Digital Download 24bit/48kHz]

Ensemble Cairn, Guillaume Bourgogne – Pesson: Blanc mérité (2018)
FLAC (tracks) 24 bit/48 kHz | Time – 01:05:06 minutes | 673 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Aeon

Lucid music. Vivacity, wit, intensity, foldings and unfoldings of the pointillist material, embracing the thing itself and its contradiction – sensuality, drollery, dances, abysses like sudden draughts of air. Movement and standstill . . . Music that slaps, pinches, bites, muffles, growls. Here Pesson reinvigorates what might (already) be his own classicism (Carmagnole); draws a pencil moustache on Mozart, who is more than willing to wear it (Transformations du Menuet K. 355); hounds his language so far into the corner that it seems different, and probably becomes so, in the intransigent light of Opałka (Blanc mérité); a language that ramifies and scintillates in Proust (Ne pas oublier coq rouge dans jour craquelé); grows geometric in Pérec (Neige bagatelle); and denudes itself in ‘enfantines’ (Musica ficta). The Ensemble Cairn, a faithful partner of the label, under its director Guillaume Bourgogne, leads us into territories that could hardly be droller.

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