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Track(s) taken from CDA67357

Les angélus, L88

First line:
Cloches chrétiennes pour les matines
author of text

Christopher Maltman (baritone), Malcolm Martineau (piano)
Recording details: July 2001
Champs Hill, West Sussex, United Kingdom
Produced by Mark Brown
Engineered by Julian Millard
Release date: January 2003
Total duration: 1 minutes 57 seconds


'An admirable recital' (BBC Music Magazine)

'You could not wish for more than Maltman’s intelligent singing and Martineau’s customary sensitivity to every nuance' (Classic FM Magazine)

'The partnership of baritone Christopher Maltman and pianist Malcom Martineau has proved chemically sound in so many memorable live and recorded performances. This new release of Debussy songs for Hyperion is no exception' (The Scotsman)

'On the present disc, Maltman distinguishes himself beyond expectation in the realm of French Mélodie, singing throughout with elegance, conviction, communicativeness, specific attention to the text, and unblemished technical security, all utterly without mannerism, in a varied program spanning 30 years (1880 -1910) of Debussy song … You should go out and buy it right now' (Fanfare, USA)

'This young baritone invests all he touches with equal consideration and the 21 songs in his programme emerge fresh and compelling … a recording of strong focus' (Yorkshire Post)

'Christopher Maltman has already distinguished himself as a lieder singer, but now he reveals himself as a stunningly apt exponent of French mélodies' (Opera News)

'With a singer of Christopher Maltman's quality these songs are presented here about as beautifully as they could be' (Manchester Evening News)

'The young baritone brings magnificent sturdiness to the music and he is sensitively accompanied by an understanding Martineau. The recording is excellent … we have another Hyperion winner' (Classical.net)
In Les angélus and Les cloches the texture is built around the sounds of bells. Debussy would of course exploit this sonority most famously in his piano prelude La cathédrale engloutie, but we should be aware that in the age before the arrival of the noisy motor car the tolling of bells in cities was a larger component of the soundscape than it is now, and so is found regularly in the songs of the period. We should also be aware that, while Debussy obviously valued them as pure sound and perhaps for their intimation of a life beyond the material one, he never followed any orthodox religion.

from notes by Robert Nichols © 2003

Dans Les angélus et Les cloches, la texture est élaborée autour des sonorités des cloches. Bien entendu, l’exemple le plus célèbre où Debussy exploite ces sonorités se trouve être le prélude pour piano intitulé La cathédrale engloutie. Il nous faut être conscient qu’avant l’arrivée de l’automobile, le son des cloches carillonnant à travers la ville était un élément clé du paysage sonore, bien plus important qu’à l’heure actuelle. A ce titre, il figure régulièrement dans les mélodies de l’époque. Il nous faut aussi savoir que, si Debussy les appréciait comme pur élément sonore, et peut-être pour leur intimation à une vie par-delà le matériel, il ne fut jamais adepte d’une religion orthodoxe.

extrait des notes rédigées par Roger Nichols © 2003
Français: Isabelle Battioni

In Les angélus und Les cloches ist der musikalische Satz auf Glockenklängen aufgebaut. Am bekanntesten wird natürlich einmal Debussys Erkundung dieser Klänge in „La cathédrale engloutie“ aus seinen Préludes für Klavier werden, aber man sollten bedenken, dass im Zeitalter vor Ankunft des lauten Autos das städtische Glockenläuten eine größere Bedeutung in der Klanglandschaft hatte als heute. Deshalb kommen sie in den Liedern jener Zeit häufig vor. Man sollten auch bedenken, dass Debussy niemals, auch wenn er die Glocken offensichtlich wegen ihres reinen Klangs und vielleicht wegen ihrer Vorstellung eines Lebens jenseits der materiellen Wirklichkeit schätzte, irgendeiner traditionellen Religion anhing.

aus dem Begleittext von Roger Nichols © 2003
Deutsch: Elke Hockings

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