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Track(s) taken from CDA67257

Deux Lieder romantiques, Op 20

composer
May 1919
author of text
translator of text
possible translator of text

François Le Roux (baritone), Graham Johnson (piano)
Recording details: November 2000
Champs Hill, West Sussex, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: May 2002
Total duration: 4 minutes 6 seconds
 
1
Mon pâle visage  [2'55]
2
Tu es telle qu'un fleur  [1'11]

Reviews

'A vital addition to Hyperion's French song series, beautifully sung and played' (Gramophone)

‘Johnson has done much to rehabilitate the reputations of obscure composers of French Songs’ (BBC Music Magazine)

'A worthy and wonderful treat … a scintillating disc' (The Observer)

'Wonderfully idiomatic performances from singer and pianist alike, ideally recorded and presented' (The Penguin Guide to Compact Discs)

'intrinsic artistic quality and fine performance … A tantalizing glimpse of a fine talent that deserves to be remembered as more than the sixth member of Les Six' (Fanfare, USA)
These two songs are written on short poems taken from the cycle ‘Le Retour’. Their romantic turn allowed me to try a stylistic renewal. Simple and direct, the first, sombre and contained, unfolds above an inexorable E flat pedal, whereas the second, more cheerful, runs in one-go in a 6/8 rhythm.
To their credit, they paved the way to a more considerable composition, the Cantate de la Prison, which, three years later, found again this intimate and tender expression oscillating between shadow and light, making an effort to escape the former and wait for the latter.

(Louis Durey, from his Catalogue Commenté, translation by Isabelle Battioni)

from notes by Graham Johnson © 2002

>Ces deux mélodies sont écrites sur des courts poèmes extraits du cycle ‘Le Retour’. Leur tournure romantique me permettait de tenter un renouvellement de style. Simples et directes, la première, sombre et contenue, se déroule sur une inexorable pédale de Mi bémol, tandis que la seconde, plus souriante, court d’un seul trait sur un rythme de 6/8.
Elles ont le mérite de préparer la voie à une composition plus développée: la Cantate de la Prison qui, trois ans plus tard, reprendra ce mode d’expression intime et tendre oscillant entre l’ombre et la lumière, s’efforçant d’échapper à la première pour attendre la seconde.

(Louis Durey: in Catalogue Commenté, 1962)

extrait des notes rédigées par Graham Johnson © 2002
Français: Isabelle Battioni

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