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Track(s) taken from CDA68016

Dans le jardin, L107

First line:
Je regardais dans le jardin
composer
1903; commissioned by Paul Gravollet for his Les frissons
author of text

Jonathan McGovern (baritone), Malcolm Martineau (piano)
Studio Master FLAC & ALAC downloads available
CD-Quality:
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CD-Quality:
Studio Master:
Recording details: February 2013
All Saints' Church, East Finchley, London, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: October 2014
Total duration: 2 minutes 34 seconds

Cover artwork: An Evening in Ancient Times (1908) by Alphonse Osbert (1857-1939)
Musée de la Ville de Paris, Musée du Petit-Palais, France / Giraudon / Bridgeman Art Library, London
 
1

Reviews

'Jennifer France sounds both charming and convinced, and her slightly soubrettish but always attractive sound (unfazed by the occasional stratospheric top note that Debussy evidently threw in, further to entice Mme Vasnier) adds a proper note of youthful abandon, just what these early settings need to bring them to life. Praise is also due to Malcolm Martineau for his total empathy with the always atmospheric but by no means easy accompaniments. The recorded sound is ideal ... Baritone Jonathan McGovern too is well cast, velvety in sound, easy on the ear' (International Record Review)» More
By 1903, when he wrote Dans le jardin to a commission by the poet and actor Paul Gravollet for the volume Les frissons (to which twenty-one other composers also contributed, including Ravel, d’Indy and Widor), he was still basking in the success of his opera Pelléas et Mélisande the previous year. The conversational style of this all-too-rarely performed song harks back to that of the opera, as do the fluid tempi—twelve different ones in under three minutes.

from notes by Roger Nichols © 2014

En 1903, quand il écrivit Dans le jardin, une mélodie commandée par le poète-acteur Paul Gravollet pour le volume Les frissons (auquel contribuèrent vingt et un autres compositeurs, dont Ravel, d’Indy et Widor), il était encore auréolé du succès de son opéra Pelléas et Mélisande, l’année passée—un opéra que cette mélodie trop rarement jouée rappelle d’ailleurs par son style conversant comme par ses tempi fluides (douze en moins de trois minutes).

extrait des notes rédigées par Roger Nichols © 2014
Français: Hypérion

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