Information
Composer: André Caplet; Claude Debussy
Quatuor Debussy
Christophe Collette, violin
Marc Vieillefon, violin
Vincent Deprecq, viola
Fabrice Bihan, cello
Marielle Nordmann, harp
Françoise Masset, soprano
Yann Dubost, double bass
Date: 2014
Label: Timpani
http://timpani-records.com/1c1207.php
- (01) Debussy - Quatuor à cordes en sol mineur, Op. 10
- (05) Debussy - Danses, pour harpe et cordes
- (07) Caplet - Les Prières, pour soprano, harpe et cordes
- (10) Caplet - Conte fantastique
Quatuor Debussy
Christophe Collette, violin
Marc Vieillefon, violin
Vincent Deprecq, viola
Fabrice Bihan, cello
Marielle Nordmann, harp
Françoise Masset, soprano
Yann Dubost, double bass
Date: 2014
Label: Timpani
http://timpani-records.com/1c1207.php
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RECORDING OF THE MONTH
The pairing of Claude Debussy with André Caplet is apposite. The younger composer was influenced by the elder, becoming his assistant and completing some of his orchestrations, an example being Le Martyre de Saint Sébastien. Caplet was also a conductor, having studied at the feet of Artur Nikisch in Berlin. He was instrumental in promoting Debussy’s music, on both sides of the Atlantic, whenever possible. Like Debussy, Caplet died young, aged 46, in 1925 as a result of pleurisy, a complication of gassing, contracted whilst on active service during the First World War.
The Debussy Quartet in G minor needs no introduction. Frequently recorded, it has become one of the staples of the quartet repertoire. The performance here by the eponymous Quatuor Debussy is impressive. The players have this music at their finger tips, delivering a reading of Gallic charm and rhythmic exactitude. They respond well to the subtleties and nuances within the music, and are sensitive to dynamics and tonal shadings. Its cyclical nature, due to Franckian influences, is evident in the logical approach these players bring to the score.
The remaining works all feature the harp in a prominent role. Debussy was approached by the firm Pleyel, who were working on a new chromatic harp. The composer’s response was these two "Danses Sacrée et Profane". Although the Pleyel venture wasn’t a success, the Dances have remained in the instrument’s repertory, as they can be played on the traditional diatonic harp. The two pieces form a stark contrast. The Sacred is slower with modally inflected harmonies. Debussy drew his inspiration from the music of the Greco-Roman period. Profane is a waltz in D major in a quicker tempo.
Caplet drew inspiration from his strong Catholic faith. The music itself has an improvisatory and diaphanous quality. Pure, sparse with an economy of texture, Caplet stamps his work in a deeply personal way. In Les Prières, a work for harp and strings accompanying a female voice, this devotional aspect is prevalent. Composed whilst serving on the front-line, the composer pours out his soul in these three lyrical ‘prayers’; The Lord’s Prayer, Ave Maria and The Apostles' Creed. Here, he reflects, from the trenches, on the human predicament. They are beautifully sung by the soprano Françoise Masset.
The Conte Fantastique is one of Caplet’s more well-known and frequently performed works. This is a 1923 revision of an earlier work, Etude Symphonique (1908) for harp and string orchestra. Here it is adapted for harp and string quartet, with the double-bass thrown in for good measure. It is based on Edgar Allan Poe’s Mask of the Red Death. Caplet was attracted to this unusually gruesome story in which a Prince holds a reception in his castle. This is interrupted by the chiming of a clock. On the stroke of midnight the jolly recommences and the Mask of the Red Death appears, slaying the throng. This minimalistic work, bordering on atonality, uses scintillating string writing and harp effects, such as glissandi, to evoke an eerie atmosphere. At one point the harpist is required to rap on the sound-board to represent the stroke of midnight.
These are compelling performances. The acoustic of the Espace Monod, Vaulx-en-Velin is sympathetic, and the balance between the instruments and the excellent Françoise Masset (soprano) is ideal. Whilst I have always enjoyed Caplet’s Conte Fantastique and Les Prières in the 1992 Ensemble: Musique Oblique recording (HMA1951417), the more immediate and opulent sound that this new Timpani recording affords, now replaces the earlier version for me.
-- Stephen Greenbank, MusicWeb International
The pairing of Claude Debussy with André Caplet is apposite. The younger composer was influenced by the elder, becoming his assistant and completing some of his orchestrations, an example being Le Martyre de Saint Sébastien. Caplet was also a conductor, having studied at the feet of Artur Nikisch in Berlin. He was instrumental in promoting Debussy’s music, on both sides of the Atlantic, whenever possible. Like Debussy, Caplet died young, aged 46, in 1925 as a result of pleurisy, a complication of gassing, contracted whilst on active service during the First World War.
The Debussy Quartet in G minor needs no introduction. Frequently recorded, it has become one of the staples of the quartet repertoire. The performance here by the eponymous Quatuor Debussy is impressive. The players have this music at their finger tips, delivering a reading of Gallic charm and rhythmic exactitude. They respond well to the subtleties and nuances within the music, and are sensitive to dynamics and tonal shadings. Its cyclical nature, due to Franckian influences, is evident in the logical approach these players bring to the score.
The remaining works all feature the harp in a prominent role. Debussy was approached by the firm Pleyel, who were working on a new chromatic harp. The composer’s response was these two "Danses Sacrée et Profane". Although the Pleyel venture wasn’t a success, the Dances have remained in the instrument’s repertory, as they can be played on the traditional diatonic harp. The two pieces form a stark contrast. The Sacred is slower with modally inflected harmonies. Debussy drew his inspiration from the music of the Greco-Roman period. Profane is a waltz in D major in a quicker tempo.
Caplet drew inspiration from his strong Catholic faith. The music itself has an improvisatory and diaphanous quality. Pure, sparse with an economy of texture, Caplet stamps his work in a deeply personal way. In Les Prières, a work for harp and strings accompanying a female voice, this devotional aspect is prevalent. Composed whilst serving on the front-line, the composer pours out his soul in these three lyrical ‘prayers’; The Lord’s Prayer, Ave Maria and The Apostles' Creed. Here, he reflects, from the trenches, on the human predicament. They are beautifully sung by the soprano Françoise Masset.
The Conte Fantastique is one of Caplet’s more well-known and frequently performed works. This is a 1923 revision of an earlier work, Etude Symphonique (1908) for harp and string orchestra. Here it is adapted for harp and string quartet, with the double-bass thrown in for good measure. It is based on Edgar Allan Poe’s Mask of the Red Death. Caplet was attracted to this unusually gruesome story in which a Prince holds a reception in his castle. This is interrupted by the chiming of a clock. On the stroke of midnight the jolly recommences and the Mask of the Red Death appears, slaying the throng. This minimalistic work, bordering on atonality, uses scintillating string writing and harp effects, such as glissandi, to evoke an eerie atmosphere. At one point the harpist is required to rap on the sound-board to represent the stroke of midnight.
These are compelling performances. The acoustic of the Espace Monod, Vaulx-en-Velin is sympathetic, and the balance between the instruments and the excellent Françoise Masset (soprano) is ideal. Whilst I have always enjoyed Caplet’s Conte Fantastique and Les Prières in the 1992 Ensemble: Musique Oblique recording (HMA1951417), the more immediate and opulent sound that this new Timpani recording affords, now replaces the earlier version for me.
-- Stephen Greenbank, MusicWeb International
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https://en.wikipedia.org/wiki/Andr%C3%A9_Caplet
***
Claude Debussy (22 August 1862 – 25 March 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures associated with Impressionist music, though he disliked the term when applied to his compositions. Debussy is widely regarded as one of the most influential composers of the 20th century. His innovative harmonies and his use of non-traditional scales were influential to almost every major composer of the 20th century and also some modern music groups. Debussy's music is noted for its sensory content and frequent usage of nontraditional tonalities.
http://en.wikipedia.org/wiki/Claude_Debussy
http://en.wikipedia.org/wiki/Claude_Debussy
***
The Quatuor Debussy is a French string quartet. Formed in 1990 by a group of young musicians studying at the Conservatoire de Lyon, France, the quartet has gained international renown for its exciting performances and award-winning recordings. The quartet now performs about 80 concerts a year in Europe, Asia, and North America. Their extensive discography includes highly acclaimed recordings for labels such as Decca, Harmonia Mundi, Arion and Timpani. Based in Lyon, the quartet's members are the founders of "Les cordes en Ballad", a chamber music festival and academy in Southern France.
https://www.quatuordebussy.com
http://debussystringquartet.com/
https://www.quatuordebussy.com
http://debussystringquartet.com/
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ReplyDeleteMuchas gracias por la música de Caplet, un verdadero genio. Es una pena que haya tan poca de su música disponible en esta página, aún así vuelvo a darle la enhorabuena por toda la obra de otros compositores que si está disponible, que es muchísima y de gran calidad. Muy apreciada.