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Track(s) taken from CDA66856

Dans ton cœur

composer
1872
author of text
L'Illusion

François Le Roux (baritone), Graham Johnson (piano)
Recording details: January 1996
Rosslyn Hill Unitarian Chapel, Hampstead, London, United Kingdom
Produced by Arthur Johnson
Engineered by Antony Howell & Julian Millard
Release date: January 1997
Total duration: 3 minutes 26 seconds

Cover artwork: À l'ombres des bosquets chante un jeune poète by Jean-Louis-Ernest Meissonier (1815-1891)
Reproduced by permission of The Wallace Collection, London / Bridgeman Art Library, London
 
1
Dans ton cœur  [3'26]

Reviews

'This is the most resounding blow yet to be struck for the mélodies of Saint-Saëns … Le Roux is one of the most charismatic performers of our time … this is certainly one of the best things he has done so far. A double welcome for performers and rare repertory' (Gramophone)

'Musical jewels surface with delightful consistency in this 27-song recital. An absorbing and revelatory disc' (BBC Music Magazine)

'There's hardly a dud among these 30-or-so songs on this well filled, perfectly recorded disc, an ideal accompaniment to a hot summer evening' (The Daily Telegraph)

'Another immensely pleasant recital from Hyperion, both in content and performance. [François Le Roux] is establishing himself as the leading French baritone of the day' (Classic CD)

'François Le Roux est l'interprète prédestiné. Son intelligence des mots, son sens de la juste inflexion font ici merveille' (Diapason, France)

'Apoya magnificamente al baritono, firmando entre ambos un trabajo auténticamente digno de conocerse. Sonido exemplar' (CD Compact, Spain)
Here is another song, this time from 1872, which suggests the salon, although this time it is more of its own epoch. It is as if Saint-Saëns has glanced at the Cinq Mélodies published by Duparc in 1868 (the fourth of these, Chanson triste, uses the same text and was destined to become one of the most famous of songs) and decided to be different as a matter of principle. (Duparc, by the way, attributes the poem to Jean Lahor, the pen-name for the writer whom Saint-Saëns acknowledges on his title-page as Henri Cazalis.) How masterfully Duparc weaves these words into a silken thread of running semiquavers and a vocal line of infinite grace. On the other hand Saint-Saëns opts for a more static approach, admirably economical and telling, with much of the text sung beneath held chords, a tactic which gives the singer a certain freedom to tell the story untrammelled by the piano. Much of the song’s effectiveness comes from a chain of exquisite modulations; indeed at times the song seems unanchored in any key. In a strange way, and exactly contrary to the historical facts, there is more of a Franckian feeling to this song than we find in Duparc’s masterpiece.

from notes by Graham Johnson © 1997

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