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℗ 2022 BR-Klassik
Released | January 7, 2022 |
Duration | 55m 58s |
Record Label | BR-Klassik |
Catalogue No. | 900529 |
Genre | Classical (Modern Era) |
Debussy & Hahn: Vocal Works
Christiane Karg, Gerold Huber, Chor des Bayerischen Rundfunks, Howard Arman, Max Hanft, Angela Brower, Daniel Behle, Anna Maria Palii, Nikolaus Pfannkuch, Tareq Nazmi
Available in 48 kHz / 24-bit AIFF, FLAC audio formats
1.1
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Salut printemps, L. 24 (Arr. M. Gaillard for Women's Choir & Piano)
Louis-Philippe de Ségur; Claude Debussy; Christiane Karg; Gerold Huber; Chor des Bayerischen Rundfunks; Howard Arman |
5:23 | |||
La damoiselle élue, L. 62
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1.2
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Prélude
Claude Debussy; Max Hanft; Gerold Huber; Howard Arman |
3:54 | |||
1.3
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La damoiselle élue s'appuyait
Claude Debussy; Dante Gabriel Rossetti; Angela Brower; Gerold Huber; Max Hanft; Chor des Bayerischen Rundfunks; Howard Arman |
4:54 | |||
1.4
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Je voudrais qu'il fut déjà près de moi
Claude Debussy; Dante Gabriel Rossetti; Christiane Karg; Gerold Huber; Max Hanft; Chor des Bayerischen Rundfunks; Howard Arman |
7:36 | |||
1.5
|
La lumière tressaillit de son côté
Claude Debussy; Dante Gabriel Rossetti; Christiane Karg; Angela Brower; Max Hanft; Gerold Huber; Chor des Bayerischen Rundfunks; Howard Arman |
3:30 | |||
1.6
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Les angélus, L. 76 (Transcr. C. Gottwald for Women's Choir)
Grégoire Le Roy; Clytus Gottwald; Claude Debussy; Chor des Bayerischen Rundfunks; Howard Arman |
2:54 | |||
Ariettes oubliées, L. 60
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1.7
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No. 3, L'ombre des arbres
Paul Verlaine; Claude Debussy; Christiane Karg; Gerold Huber |
2:17 | |||
7 Chansons grises
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1.8
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No. 6, Paysage triste
Reynaldo Hahn; Paul Verlaine; Christiane Karg; Gerold Huber |
2:22 | |||
Études latines
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1.9
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No. 1, Lydie
Reynaldo Hahn; Leconte de Lisle; Daniel Behle; Gerold Huber; Chor des Bayerischen Rundfunks; Howard Arman |
2:18 | |||
1.10
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No. 2, Néère
Reynaldo Hahn; Leconte de Lisle; Christiane Karg; Gerold Huber |
3:09 | |||
1.11
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No. 3, Salinum
Reynaldo Hahn; Leconte de Lisle; Christiane Karg; Gerold Huber |
2:03 | |||
1.12
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No. 4, Thaliarque
Reynaldo Hahn; Leconte de Lisle; Anna Maria Palii; Nikolaus Pfannkuch; Gerold Huber; Chor des Bayerischen Rundfunks; Howard Arman |
2:17 | |||
1.13
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No. 5, Lydé
Reynaldo Hahn; Leconte de Lisle; Christiane Karg; Gerold Huber |
2:54 | |||
1.14
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No. 6, Vile potabis
Reynaldo Hahn; Leconte de Lisle; Christiane Karg; Gerold Huber |
1:23 | |||
1.15
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No. 7, Tyndaris
Reynaldo Hahn; Leconte de Lisle; Christiane Karg; Gerold Huber |
1:29 | |||
1.16
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No. 8, Pholoé
Reynaldo Hahn; Leconte de Lisle; Christiane Karg; Gerold Huber |
1:45 | |||
1.17
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No. 9, Phidylé
Reynaldo Hahn; Leconte de Lisle; Tareq Nazmi; Max Hanft; Gerold Huber; Chor des Bayerischen Rundfunks; Howard Arman |
2:35 | |||
1.18
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No. 10, Phyllis
Reynaldo Hahn; Leconte de Lisle; Christiane Karg; Gerold Huber |
3:15 | |||
Digital Booklet
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Weightless, floating sounds, far removed from any earthbound striving for a home key and eluding any measurable emphases; a dazzlingly bright play of colors in instrumentation and impressionist tones, combined with that affectionate, softly melodic character of the French language – that is what constitutes the special charm of the French art-song. Audibly very different from the German Lied of the Romantic and Late Romantic periods, its extremes are filled with tensions and delightful contrasts. In the concert repertoire on the German side of the Rhine, however, French solo and choral songs have remained something exotic. This selection of the finest examples from the oeuvre of both brilliant composers, written at the turn of the 19th and 20th centuries, offers music full of grace and impressionistic esprit that remains unique in the history of composition and art. The cantata La Damoiselle élue was the first major success of the young Claude Debussy; appreciated for its beauty and tenderness, it is heard here for the first time in Howard Arman's version with two pianos, based equally on the orchestral score and Debussy’s own, independent piano version. It is joined by several of Debussy's solo and choral songs. "L'ombre des arbres dans la rivière embrumée", the poem by the symbolist lyricist Paul Verlaine, also hinges equally between Debussy and Hahn: it was masterfully set to music by both within a brief time period. The solo songs are performed by renowned soprano Christiane Karg, accompanied by Gerold Huber on the piano. In his song and choral cycle Études latines, Reynaldo Hahn resurrected antiquity. Recreating such music not only gave the composer inspiration but also great freedom. The piano accompaniment is restrained as far as possible. These serious and tender songs reflect on the life journeys taken by a person.
48 kHz / 24-bit PCM – BR-Klassik Studio Masters
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -2.33 -7.52 to -1.00 | -24.68 -30.39 to -20.10 | -20.80 -26.80 to -16.50 | 13 12 to 15 | |
1 | Salut printemps, L. 24 (Arr. M. Gaillard for Women's Choir & Piano) | -1.01 | -20.10 | -16.5 | 12 |
2 | Prélude | -7.52 | -30.39 | -26.8 | 13 |
3 | La damoiselle élue s'appuyait | -1.01 | -22.89 | -18.9 | 13 |
4 | Je voudrais qu'il fut déjà près de moi | -1.00 | -21.94 | -17.5 | 13 |
5 | La lumière tressaillit de son côté | -1.48 | -27.42 | -22.3 | 15 |
6 | Les angélus, L. 76 (Transcr. C. Gottwald for Women's Choir) | -1.01 | -24.06 | -20.8 | 13 |
7 | No. 3, L'ombre des arbres | -1.01 | -23.99 | -18.8 | 13 |
8 | No. 6, Paysage triste | -1.19 | -26.03 | -21.4 | 15 |
9 | No. 1, Lydie | -1.01 | -21.14 | -17.6 | 12 |
10 | No. 2, Néère | -3.45 | -26.63 | -23.1 | 14 |
11 | No. 3, Salinum | -4.66 | -27.57 | -23.0 | 12 |
12 | No. 4, Thaliarque | -1.54 | -23.68 | -20.5 | 13 |
13 | No. 5, Lydé | -3.07 | -24.59 | -21.4 | 14 |
14 | No. 6, Vile potabis | -2.21 | -24.41 | -20.3 | 12 |
15 | No. 7, Tyndaris | -5.34 | -25.16 | -21.9 | 13 |
16 | No. 8, Pholoé | -1.01 | -25.95 | -22.2 | 13 |
17 | No. 9, Phidylé | -1.01 | -23.78 | -20.4 | 12 |
18 | No. 10, Phyllis | -3.44 | -24.46 | -21.0 | 13 |