L’Esprit du temps
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Label: Trptk
Cat No: TTK0060
Format: Hybrid SACD
Number of Discs: 1
Genre: Chamber
Release Date: 26th February 2021
Contents
Works
D'un soir tristePieces (3) for cello and piano
Cello Sonata in C major, op.26 no.2
Suite italienne 'Pulcinella' (version for cello and piano)
Artists
Anastasia Feruleva (cello)Frank van de Laar (piano)
Works
D'un soir tristePieces (3) for cello and piano
Cello Sonata in C major, op.26 no.2
Suite italienne 'Pulcinella' (version for cello and piano)
Artists
Anastasia Feruleva (cello)Frank van de Laar (piano)
About
Around 1901 Lili Boulanger starts taking composition classes with Gabriel Fauré, where she meets not only Charles Koechlin, Florent Schmitt and Maurice Ravel, but also George Enescu. Since 1895, this Romanian musician has been studying composition in Paris with, among others, Massenet and Fauré. Nadia Boulanger also moves in this circle, becoming Fauré’s deputy organist in the church of La Madeleine in 1903. When Igor Stravinsky starts working with Sergei Diaghilev and his “Ballets Russes” in Paris in 1909, a close friendship is born between him and Nadia. She will later go on to teach Stravinsky’s son.
This album picks up on this network of relationships, with Enescu’s Cello Sonata, op.26 no.2, a work far too seldom played, marking the starting point. “For quite some years we have been intensively engaged with this work, having often played it in concerts, and each time discovering something new,” Anastasia Feruleva and Frank van de Laar explain. “We would like to champion this sonata because we consider it a unique masterpiece of the 20th century cello literature. Unfortunately, it has been neglected in concert halls to this day, most probably because of the complex score and the enormous demands on ensemble playing. However, this music is so incredibly rich and deserves to be performed. We have put great thought into how this work could be combined with other repertoire to create a meaningful programme.” The final concept of the programme unites parallels and contrasts while also creating a concise narrative. This common thread is the retrospective, nostalgic but by no means backward in approach, through which early modernism treads new, independent paths. Essentially, this marks the new “Esprit du temps”. In the Second Cello Sonata of 1935, this retrospective appears not only in the simple personal sense, as evident through Enescu’s use of folk elements from his Romanian homeland in the rondo-like last movement, as well as in the Andante cantabile. It goes beyond this, with the four-movement work following the classical form.
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