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Track(s) taken from CDA66963

Charmes

composer
1920/1

Stephen Hough (piano)
Recording details: July 1996
St George's, Brandon Hill, United Kingdom
Produced by Andrew Keener
Engineered by Tony Faulkner
Release date: August 1997
Total duration: 8 minutes 46 seconds

Cover artwork: Coxcombs by Ben Moore
Reproduced by permission of the artist / Private Collection
 
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Reviews

'Altogether outstanding in every way … a real treat … utterly compelling playing with a recording to match … in the hands of an imaginative pianist like Stephen Hough this other-worldly, almost eremitic [music] becomes revelatory. He catches Mompou's wistful moods to perfection' (Gramophone)

'It's a rare thing for an artist's programme notes to vie in quality with his playing. There is simply no better description of this music, nor any more persuasive, imaginative and spiritually attuned performer of it. Fascinating, hypnotic, mystical. Commended' (BBC Music Magazine)

'In his skilfully planned and superlatively played programme Stephen Hough achieves a vivid sense of contrast, of temporal and spiritual reflection. His rare empathy for such music is reflected in Hyperion's cloudless recording' (BBC Record Review)

'Perhaps the most significant piano release of the year' (The Independent)

'Pianism of a very high order indeed, backed up by a recording of beautiful limpidity. Spellbinding music, immaculately performed' (Classic CD)

'Ce CD est une parfaite introduction à une oeuvre aussi passionante que difficile à cerner. La prise de son d'une qualité exceptionelle de rondeur et de naturel' (Répertoire, France)
Charmes (1920/1) continues in the musical dialect of Cants Mágics but now strange signposts head each piece to illuminate our path of perception—although these mottos are more like the light of flickering candles in their obscurity. They are literally ‘spells’ which are conjured up for specific purposes: ‘to alleviate suffering’ … ‘to penetrate the soul’ … ‘to inspire love’ … ‘to effect a cure’ … ‘to evoke an image of the past’ … ‘to call up joy’. According to Antonio Inglesias, the composer had not yet met the poet Paul Valéry, and did not know his poems of the same name, although these latter were published around the same time.

from notes by Stephen Hough © 1997

Charmes (1921/2) reprend le dialecte musical des Cants Mágics mais d’étranges indications figurent désormais en tête de chaque pièce pour illuminer notre voie de la perception—bien que ces devises ressemblent davantage à la lueur de chandelles vacillantes dans l’obscurité. Ces pièces sont littéralement des «incantations» invoquées dans des desseins spécifiques: «pour endormir la souffrance» … «pour pénétrer les âmes» … «pour inspirer l’amour» … «pour les guérisons» … «pour évoquer l’image du passé» … «pour appeler la joie». Selon Antonio Inglesias, Mompou n’avait pas encore rencontré Paul Valéry et ne connaissait pas ses poèmes, bien que ces derniers fussent publiés à peu près à la même époque.

extrait des notes rédigées par Stephen Hough © 1997
Français: Hypérion

Die Charmes (1921/2) setzen die musikalische Sprache der Cants Mágics fort, aber jetzt stehen jedem Stücke als seltsame Wegweiser Sprüche voran, die uns den Pfad zur Erkenntnis weisen sollen, ihrer Unklarheit wegen aber eher mit dem Licht von flackernden Kerzen zu vergleichen sind. Sie sind Sprüche im wahrsten Sinne des Wortes, die zu ganz spezifischen Zwecken hervorgezaubert sind: „Um das Leiden zu lindern“, … „um in die Seele einzudringen“, … „um die Liebe zu erwecken“, … „um eine Heilung herbeizuführen“, … „um ein Bild aus der Vergangenheit wachzurufen“, … „um die Freude heraufzubeschwören“. Antonio Inglesias nach kannte der Komponist Paul Valéry noch nicht, auch waren dessen Gedichte, die ungefähr um dieselbe Zeit veröffentlicht wurden und auch den Namen „Charmes“ trugen, Mompou nicht bekannt.

aus dem Begleittext von Stephen Hough © 1997
Deutsch: Margaret Morey

Charmes (1921/2) continúa en el dialecto musical de Cants Mágics pero ahora unos indicadores extraños encabezan cada pieza para iluminar nuetras senda de percepción – aunque en su oscuridad estos lemas se parezcan más al tenue destello de las velas. Son literalmente ‘conjuros’ invocados con fines específicos: ‘para aliviar el sufrimiento’ … ‘para penetrar el alma’ … ‘para inpirar amor’ … ‘para curar’ … ‘para evocar una imagen del pasado’ … ‘para atraer a la alegría’. Según Antonio Iglesias, el compositor todavía no había conocido al poeta Paul Valéry y desconocía sus poemas del mismo nombre, aunque estos se publicaron más tade hacia el mismo tiempo.

Stephen Hough © 1997
Español: Karmelín Adams

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