Trois chansons de Charles d'Orleans: Dieu! qu'il la fait bon regarder!
Trois chansons de Charles d'Orleans: Quant j'ai ouy le tabourin
Trois chansons de Charles d'Orleans: Yver, vous n'estes qu'un villain
Trois chansons: Nicolette
Trois chansons: Trois beaux oiseaux du Paradis
Trois chansons: Ronde
Les djinns, Op. 12
This generously programmed disc provides excellent value and outstanding performances of both major and lesser-known masterpieces of French choral music. The Fauré Requiem has been recorded many times, and several e... more »xcellent versions of the original orchestration are available on disc. This one is among them, owing to John Eliot Gardiner's experience and perfectionist mastery of details overlooked by less-successful choral conductors. The real bonus here is the inclusion of the popular but very difficult Debussy and Ravel chansons, and the rarely heard but eminently worthy little part songs by Saint-Saëns. These pieces are a lesson in how to achieve maximum effect with the simplest materials. -- David Vernier« less
This generously programmed disc provides excellent value and outstanding performances of both major and lesser-known masterpieces of French choral music. The Fauré Requiem has been recorded many times, and several excellent versions of the original orchestration are available on disc. This one is among them, owing to John Eliot Gardiner's experience and perfectionist mastery of details overlooked by less-successful choral conductors. The real bonus here is the inclusion of the popular but very difficult Debussy and Ravel chansons, and the rarely heard but eminently worthy little part songs by Saint-Saëns. These pieces are a lesson in how to achieve maximum effect with the simplest materials. -- David Vernier
CD Reviews
The Best rendition of this work... HAND'S DOWN!!!
Mark Preece | Edmonton, Alberta Canada | 04/15/2003
(5 out of 5 stars)
"This recording by Sir John Eliot Gardiner, is by far the best recording of this work available, and for various reasons.
1) The original orchestration of the Requiem, with full sections of Violas Cellos and Basses, but with only 1 solo violin; making the strings maintain an extra dark sound that is really invegorating.
2) The practically perfect performance of the Montiverdi Choir - arguably one of THE finest choirs in the world. Perfect balance, blend in all senses of the work.
3) Magnificent soloists capturing the very essence of what Faure was trying to accomplish - Notably the performance of Cathrine Bott in the Pie Jesu. Sweet, angelic, with NOT A LOT OF VIBRATO - which for some sopranos it is almost insulting for them to tone down the vibrato, as if to interfear with their virtuosity... Bott sings this with extreme delicacy, and in perfect context with the rest of the work, encapsulating the Requiem as it was ment to be.These 3 qualities in the same recording is first of all extremely rare, and secondly it brings forth Faure in a completely new context.This is truely a magnificent recording of Faure's Requiem, with all the velvety textures presented as smooth as milk choclate! A true model to our artform."
Marvelous!
Jeannette Okinczyc | Washington State, USA | 04/04/2000
(5 out of 5 stars)
"I don't think I've ever owned any piece of music quite so beautiful as the ones included on this cd... Gardiner's expertise and control keeps the nuances of this music just at the point where it nearly breaks your heart. Quite a large volume range on this one -- adds to the natural beauty of the music. Sometimes a soft breeze, other times a windstorm. Marvelous."
Gardiner surprises again
Caterina Sforza | Brooklyn, NY | 02/27/2005
(5 out of 5 stars)
"Perhaps we should just stop being surprised by John Eliot Gardiner, and begin to consider that perhaps there is no music, of any period, forces, or nationality, that cannot benefit from his transparent, lucid approach."
A voice teacher and early music fan
George Peabody | Planet Earth | 06/14/2008
(5 out of 5 stars)
"'GARDINER'S REQUIEM: TRES UNIQUE, BUT 'HIS' FRENCH ART SONGS: C'EST MAGNIFIQUE!!
How ingenious of John Eliot Gardiner to choose this so-called second setting of Faure's Requiem with its lighter instrumentation, for it creates, even more than usual, an ethereal effect, and in fact, is somewhat eerie. I loved it, but then I loved many of the other renditions of this magnificent work (one being the 1967 David Willcocks King's College Choir). They all have their merits and are worthy of note, just as the many 'Messiah's'that are available for us to enjoy, and we select the one that suits our present mood. However, my focus in this review is on the wonderfully performed Art Songs on this disc by Saint Saens, Faure, Ravel and Debussy. These are not performed very often and a few rarely.
'Camille Saint Saens'(1835-1921) was racked with pain when people addressed him as Saint Sanes. He held the human race to blame because they could not pronounce his name.' (Ogden Nash). I couldn't resist including this little verse, and in a way it reflects somewhat the mood of Saint Saen's life, for although he was looked upon highly by academics of his era, his fellow musicans were not that kind. His songs do not reflect this aspect, but have wonderfully singable lines. Moreover, above all he cares for the words and one need only to try changing notes at any point to discover how impeccably right his settings are. On this disc we hear: 'Calme des nuits'-'Les fleurs et les arbres'-'Des pas dans l'alee'.
Faure chose Victor Hugo's poems for a number of his early works which include (on this disc) 'Les djinns'(truly remarkable song that tests the mettle of the singers, and they are not found wanting). After Hugo, Faure turned his attention to a minor poet, Armand Silvestre,whose words, less forceful than Hugo's, nonetheless provided him with enough in the way of concrete imagery that resulted in the other song on this recording 'Madrigal'.
Debussy's 'Trois chansons de Charles d'Orleans' refer to the past through his choice of this fifteenth century poet. The first and third songs survive in an earlier 1898 version. The decidedly modal style of these settings gave way in a 1908 revision to a more elaborate, chromatic one. The imitative entries in the third song are the only patent example of this academic technique in Debussy's published output.
Ravel's 'Trois Chansons', published in 1916, combine pastoral activity and worldly cynicism. And these songs are rarely recorded!
All of this unaccaompanied music on this recording refers back in one way or another to the French partsongs of the Renaissance. And who can put them across in every way better than Gardiner with his scholarly approach, wanting all parts to be authentic and accurate.???!!!
With a 'flick' of his wrist or an understood signal to his choir he produces some of the most outstanding performances known to the musical world (at least to me). His choir is not only technically perfect in these difficult French songs, but is sensitive to the MANY and VARIED moods and subtleties therein. They never lose sight of the song's meaning; their tone is buoyant, their diction is flawless and the music always MOVES FORWARD. THIS IS A GREAT LISTENING TREAT!!!!
"
Gardiner Does Faure
J. De Sapio | Washington, DC | 03/10/2006
(5 out of 5 stars)
"Faure's Grecian, pastel-shaded Requiem works well with the Gardiner steamlined treatment, and Faure's unconventional original scoring - with violins omitted except for a solo violin - is different and refreshing. It makes one wonder if perhaps Faure was beginning to see a way out of the obligatory gray, massed orchestral sound of the 19th century, just as he found modal chord progressions as a way out of the exhaustion of the functional tonal system.
Track Listings (18) - Disc #1