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Hyperion Records

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Les meules de foin à St Clement by Daniel de Monfreid (1856-1929)
Sotheby’s Picture Library
Track(s) taken from CDA67100
Recording details: January 1999
Henry Wood Hall, London, United Kingdom
Produced by Mark Brown
Engineered by Antony Howell & Julian Millard
Release date: October 1999
Total duration: 4 minutes 17 seconds

'listen to this wonderful new disc from Philippe Graffin and Pascal Devoyon. From the turbulent emotions of the opening to the furiously driven moto perpetuo of the ultimately triumphant conclusion, they hold the listener spellbound … There is no doubt about the sheer pleasure which Graffin and Devoyon find in this music, with a performance enducing a wit and heartwarming intimacy that also extend to the smaller works … Strongly recommended’ (BBC Music Magazine)

'Fresh from the extraordinary success of his Saint-Saëns concertos, Philippe Graffin proves even more alluring in the French master's chamber music. This spellbinding performance had me lost in rapt concentration. The rarities that make up the rest of the disc are also sheer delight. A wonderful recording in every way' (Classic CD)

‘Philippe Graffin is the sensitive violinist who often conveys a sense of rapture in this music. Pascal Devoyon is a splendid partner in this welcome recording’ (MDC Classical Express)

‘Graffin is one of the most elegant violinists of the younger generation, his performances of Saint-Saëns having that rare thistledown quality that creates a remarkable crystalline beauty … In passages of more substance, he is equally persuasive, despatching technical difficulties with consummate ease … In Devoyon, he has a partner that matches his radiant readings, the clarity of articulation complementing Graffin’s silvery tone’ (Yorkshire Post)

Élégie, Op 160
composer

Élégie Op 160  [4'17]

Introduction  EnglishFrançaisDeutsch
The emotional expression of Opus 160 (1920) is grandiose. This Élégie starts in a surprisingly foursquare way, though some of the composer’s usual subtleties of harmony and form appear later and help to build a powerful climax. It’s inscribed to the memory of Alexis de Castillon, gifted composer and co-founder with Saint-Saëns of the Société Nationale de Musique. Castillon (1838–1873) only found his voice as a composer in the last years of his life. Looking back over his long career, Saint-Saëns must have been struck by the contrasting destinies—his colleague who had died before achieving any renown, and his own life, full of public honour but extending into what must often have seemed an alien era, increasingly remote from the revered classical masters who had been his Aunt Charlotte’s contemporaries.

from notes by Duncan Druce © 1999

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