Please wait...

Hyperion Records

Click cover art to view larger version
Track(s) taken from CDA67357
Recording details: July 2001
Champs Hill, West Sussex, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: January 2003
Total duration: 1 minutes 57 seconds

'an admirable recital' (BBC Music Magazine)

'You could not wish for more than Maltman’s intelligent singing and Martineau’s customary sensitivity to every nuance' (Classic FM Magazine)

'The partnership of baritone Christopher Maltman and pianist Malcom Martineau has proved chemically sound in so many memorable live and recorded performances. This new release of Debussy songs for Hyperion is no exception' (The Scotsman)

'On the present disc, Maltman distinguishes himself beyond expectation in the realm of French Mélodie, singing throughout with elegance, conviction, communicativeness, specific attention to the text, and unblemished technical security, all utterly without mannerism, in a varied program spanning 30 years (1880 -1910) of Debussy song … You should go out and buy it right now' (Fanfare, USA)

'this young baritone invests all he touches with equal consideration and the 21 songs in his programme emerge fresh and compelling … a recording of strong focus' (Yorkshire Post)

'Christopher Maltman has already distinguished himself as a lieder singer, but now he reveals himself as a stunningly apt exponent of French mélodies' (Opera News)

'With a singer of Christopher Maltman's quality these songs are presented here about as beautifully as they could be' (Manchester Evening News)

' … the young baritone brings magnificent sturdiness to the music and he is sensitively accompanied by an understanding Martineau. The recording is excellent … we have another Hyperion winner' (Classical.net)

Les angélus, L88
First line:
Cloches chrétiennes pour les matines
composer
author of text

Introduction  EnglishFrançais
In Les angélus and Les cloches the texture is built around the sounds of bells. Debussy would of course exploit this sonority most famously in his piano prelude La cathédrale engloutie, but we should be aware that in the age before the arrival of the noisy motor car the tolling of bells in cities was a larger component of the soundscape than it is now, and so is found regularly in the songs of the period. We should also be aware that, while Debussy obviously valued them as pure sound and perhaps for their intimation of a life beyond the material one, he never followed any orthodox religion.

from notes by Robert Nichols © 2003

Show: MP3 FLAC ALAC
   English   Français   Deutsch