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Track(s) taken from SIGCD263

Hymne, FP144

First line:
Sombre nuit, aveugles ténèbres
composer
2-8 November 1948; dedicated to Doda Conrad
author of text
translated from the Breviary

Jonathan Lemalu (baritone), Malcolm Martineau (piano)
Studio Master FLAC & ALAC downloads available
CD-Quality:
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Recording details: September 2010
St Michael's Church, Summertown, Oxford, United Kingdom
Produced by John H West
Engineered by Andrew Mellor
Release date: May 2011
Total duration: 4 minutes 1 seconds
 

Other recordings available for download

Neal Davies (bass), Graham Johnson (piano)

Reviews

'This is very much the mixture as before in the first of Signum's projected cycle of the complete Poulenc songs … Lorna Anderson sings delightfully the three Lorca songs, very simple in their lyricism … Felicity Lott demonstres her mastery of French operetta style. Signum again provides excellent notes by Roger Nichols and full texts and translations' (Gramophone)

'This second volume of a projected complete survey of Poulenc's songs 'a delightful prospect' begins with one of his earliest and longest examples, the waltz-song Toreador, which Poulenc described as a caricature of a music-hall song. Christopher Maltman sings it stylishly, with Malcolm Martineau contributing his usual artistry in conjuring a whole world of colours and moods from the piano part … singers score pretty high in their projection and pronunciation of diverse texts, and their all-round musicianship … overall this album is guaranteed to bring hours of pleasure—a must-have for Poulenc fans' (MusicWeb International)» More
The bass Doda Conrad (1905–1997) was the son of Marya Freund (1876–1966), the Polish soprano resident in France who had played an important part in early Poulenc performances, and he was the dedicatee of three of Poulenc’s songs. Conrad was a member of Nadia Boulanger’s ensemble (performing and recording Monteverdi, Rameau and Brahms) and an aspiring recitalist. He was able to approach Poulenc as an old family friend and ask him to compose a piece to be premiered in a New York recital in December 1948 (he had already premiered the Vilmorin Mazurka in November, also in New York).

The marking of this curious but eloquent song is Largo. It is an incantation, as might be sung by a French Sarastro. The vocal line is notated in the bass clef, and for the first ten bars the pianist’s hands also remain there, effecting an initially dark and murky texture. The high priest begins by invoking Olympus in classical manner but redeems himself with an address to Christ, ‘notre unique lumière’. The composer manages the alexandrines (which he admitted to finding difficult to handle) by alternating freely between 3/4 and 4/4. The harmonization of this imposing hymn underlines the majesty one associates with le grand siècle and its ceremonial musical flourishes. Throughout this song there is a dotted-rhythm motif that evokes the sound of muffled drum (both hands darting down to the bass clef).

from notes by Graham Johnson © 2013

Other albums featuring this work

Poulenc: The Complete Songs
CDA68021/44CDs Boxed set (at a special price)
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