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Track(s) taken from CDA66805

Marche funèbre


Corydon Orchestra, Matthew Best (conductor)
Recording details: April 1995
All Hallows, Gospel Oak, London, United Kingdom
Release date: February 1996
Total duration: 6 minutes 18 seconds


'A really knockout performance of a dramatic Marche funèbre with some startling effects' (BBC Record Review)

'Record of the Month' (Classic FM Magazine)

'If ever a performance and a recorded sound were set fair to enthuse an audience, this is it. From the thrill of the tam-tam to the poignancy of the most expressive moments, it is all here. A memorable experience' (Organists' Review)
Perhaps the Marche funèbre was one of the works Beethoven had in mind when he described Cherubini as ‘Europe’s foremost dramatic composer’. It opens with a startling flourish on the tam-tam and timpani. This is clearly no solemn ceremonial, but an anguished, grief-stricken death-march, much closer in style to the music of Berlioz than of Beethoven.

from notes by John Bawden © 1995

Peut-être Beethoven avait-il à l’esprit la Marche funèbre, ouverte par une saisissante fioriture du tam-tam et des timbales, lorsqu’il parla de Cherubini comme du «plus important compositeur dramatique d’Europe». Ce morceau n’est manifestement pas un cérémonial solennel mais une marche funèbre angoissée et accablée de douleur, dont le style musical est beaucoup plus proche de Berlioz que de Beethoven.

extrait des notes rédigées par John Bawden © 1995
Français: Hypérion

Vielleicht war der Marche funèbre eine der Arbeiten, an die Beethoven dachte, als er Cherubini als „den führenden dramatischen Komponisten Europas“ beschrieb. Er beginnt mit einem erstaunlichen Schall des Tamtam und der Kesselpauke. Dies ist eindeutig kein feierliches Zeremoniell, wohl aber ein qualvoller, gramgebeugter Todesmarsch, der von seinem Stil her der Musik von Berlioz näher ist als der Beethovens.

aus dem Begleittext von John Bawden © 1995
Deutsch: Ute Mansfeldt

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