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Hyperion Records

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Afternoon in the Park by Hippolyte Petitjean (1854-1929)
Phillips Fine Art / Bridgeman Art Library, London
Track(s) taken from CDA67431/2
Recording details: July 2004
Henry Wood Hall, London, United Kingdom
Release date: May 2005
Total duration: 16 minutes 24 seconds

'…this is a set of sheer delight: let's hear it for imaginative conservatism' (Gramophone)

'These are full-blooded performances, packed with energy and colour, and every corner is turned under complete control' (BBC Music Magazine)

'It is repertoire that really shows up the ensemble's strengths and its ability to encompass the richest ensemble-playing, as well as the exposed solo work required of the accompanied sonata medium … there is plenty of mellifluously drawn melodic writing, playful harmonic twists and textural ingenuity to enjoy' (The Daily Telegraph)

'It is a charming collection, beautifully played; this is precisely the repertoire in which the Nash excels … The opening cantilena of the Oboe Sonata is positively rapturous … just as the mysterious fugal introduction to the finale of the early Piano Quintet [is] fabulously played by cellist Paul Watkins and violist Lawrence Power' (The Guardian)

'[The] Sonatas are all played with an ideal combination of infectious virtuosity and phrasal sensitivity to have these all-too-rarely heard works come dancing off the page. Sensational flautist Philippa Davies is on hand to add her own special brand of artistry … and producer Andrew Keener and engineer Simon Eadon typically capture the proceedings with their usual magical blend of warmth and clarity, making this an issue to cherish. The Nash Ensemble could hardly wish for a finer musical testimonial in this their fortieth birthday year' (International Record Review)

'a splendid two-disc set … mounted with that special sparkle they always bring to French repertoire' (The Times)

'A legend in his own lifetime, Saint-Saëns tantalises us with distinctive, lively and imaginative pieces, explored and played with terrific vivacity and style' (Classic FM Magazine)

'The Nash Ensemble, a British organisation that alters its makeup as the situation requires, has a long and distinguished history on record. This latest offering continues the tradition. Warmly recommended' (Fanfare, USA)

Septet in E flat major, Op 65
composer

Introduction  EnglishFrançaisDeutsch
The Septet in E flat major Op 65, composed for the unusual combination of trumpet, two violins, viola, cello, double bass and piano, was written at the request of Émile Lemoine for his chamber music society which he whimsically entitled ‘La Trompette’. This society was founded in 1867 and Saint-Saëns regularly performed there along with other well known musicians of the time including Louis Diémer, Martin-Pierre Marsick, and Isidor Philipp. In this neoclassical work employing seventeenth-century dance forms, the two violins, viola and cello parts were often doubled in performance with an additional string quartet. To Lemoine, Saint-Saëns confessed in October 1907: ‘When I think how much you pestered me to make me produce, against my better judgment, this piece that I did not want to write and which has become one of my great successes, I never understood why.’ Lemoine had implored Saint-Saëns for many years to compose a work combining the trumpet with the instruments ordinarily available to the society. Jokingly he would respond that he could create a work for guitar and thirteen trombones. In 1879 he presented to Lemoine a piece entitled Préambule as a Christmas present and played it at their first concert in January 1880. Pleased with the result, he promised that he would complete the work with the Préambule as the first movement. True to his word he performed the complete composition for the first time on 28 December 1880 with himself at the piano, Sylvain Teste with the trumpet, the quartet – Martin-Pierre Marsick, Guillaume Rémy, Louis van Waefelghem and Jules Delsart, doubled with excellent effect by a second quartet of Émile Mendels, Austruy, Johannès Wolff and Louis Heggyesi – and the double bass played by Lucien Dereul. The four movements, labelled Préambule, Menuet, Intermède and Gavotte et Final, reveal the classical proclivity of the composer. However, the ingenious integration of the trumpet, namesake of this chamber music organization, with the string quintet and piano, is rare in musical literature.

from notes by Sabina Teller Ratner © 2005

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