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Track(s) taken from CDA67831

Salut d'amour, Op 12

1888; originally entitled Liebesgruß; published in1889 in versions for violin and piano, piano solo, cello and piano, and small orchestra

Alban Gerhardt (cello), Cecile Licad (piano)
Recording details: June 2010
Concert Hall, Wyastone Estate, Monmouth, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: June 2011
Total duration: 3 minutes 1 seconds

Cover artwork: Photograph of Alban Gerhardt by Sim Canetty-Clarke

Other recordings available for download

London Festival Orchestra, Ross Pople (conductor)


'[Gerhardt] and the superb Cecile Licad are wholly successful in this endeavour from the outset … he has created a well-contrasted programme … each work is presented with stylish devotion … this is cello playing of exquisite sophistication and bold imagination' (BBC Music Magazine)

'There is much more to an encore, as Alban Gerhardt will tell you, than casually capping a recital with an audience-pleaser … listen to Gerhardt in Benjamin Godard’s Berceuse de Jocelyn and there is a paradigm of the exceptional eloquence and discernment that distinguishes the entire disc' (The Daily Telegraph)

'Gerhardt's playing [is] less heart-on-sleeve than Casals's own, but wonderfully eloquent and noble: he can be extraordinarily moving in such once-familiar standards as the Berceuse from Godard's Jocelyn, or in Casals's arrangement of Chopin's Raindrop Prelude' (The Guardian)

'Let me not turn tedious with a list of Gerhardt's superior skills, his seamless legato, his command of bowing skills, his generous tone even at the top of the A string, his glowing burnished double stops in the Popper/Chopin Nocturne … it goes without saying, though I better say it, that the playing is immaculate from both players, the sequence of pieces on the CD is nicely contrasted' (International Record Review)
In 1888 Edward Elgar composed a short piece originally called Liebesgruß (‘Love’s greeting’), to which he added a dedication ‘à Carice’—a contraction of the Christian names of his then fiancée Caroline Alice Roberts and also the name the couple later gave to their only daughter. The piece was published by Schott the following year, in versions for violin and piano, piano solo, cello and piano, and for small orchestra. Schott soon changed the title to Salut d’amour, with ‘Liebesgruß’ as a subtitle, whereupon it became one of the composer’s most popular, and most widely arranged, works.

from notes by Peter Avis © 2011

En 1888, Edward Elgar a composé une courte pièce intitulée à l’origine Liebesgruß («Salut d’amour»), à laquelle il a ajouté la dédicace «à Carice»—contraction des noms de baptême de sa fiancée Caroline Alice Roberts, nom que le couple a ensuite donné à sa fille unique. L’œuvre a été publiée par Schott l’année suivante, dans des versions pour violon et piano, piano seul, violoncelle et piano, et petit orchestre. Schott a vite changé le titre en Salut d’amour, avec «Liebesgruß» en sous-titre, après quoi elle est devenue l’une des œuvres les plus populaires et les plus souvent arrangées du compositeur.

extrait des notes rédigées par Peter Avis © 2011
Français: Marie-Stella Pâris

1888 komponierte Edward Elgar ein kurzes Stück, das ursprünglich den Titel Liebesgruß trug, ergänzt um die Widmung „à Carice“—ein Mischwort aus den Vornamen seiner damaligen Verlobten Caroline Alice Roberts und der Name, den das Paar später seiner einzigen Tochter gab. Das Stück wurde im Folgejahr von Schott in Fassungen für Violine und Klavier, Klavier allein, Cello und Klavier und für Kammerorchester veröffentlicht. Schott änderte den Titel kurz darauf in Salut d’amour, mit „Liebesgruß“ als Untertitel, woraufhin es zu einem der beliebtesten und meistbearbeiteten Werke des Komponisten wurde.

aus dem Begleittext von Peter Avis © 2011
Deutsch: Arne Muus

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