
Nasze kategorie wyszukiwania
Epoka muzyczna: 20 wiek do 1960
Obszar (język): francuski
Instrumenty: organy
Rodzaj: suita, koncert
Epoka muzyczna: 20 wiek do 1960
Obszar (język): francuski
Instrumenty: organy
Rodzaj: suita, koncert
Poulenc: Les Biches/Organ Concerto/Gloria
Alto - ALC 1411
Kompozytor
Francis Poulenc (1899-1963)
Francis Poulenc (1899-1963)
Wykonawcy
Maurice Durufle, organ
Boys of Westchester Cathedral Choir
Paris Conservatoire Orchestra / Georges Pretre
RTF Orchestra / Georges Pretre
RTF Choir & Orchestra / Georges Pretre
Maurice Durufle, organ
Boys of Westchester Cathedral Choir
Paris Conservatoire Orchestra / Georges Pretre
RTF Orchestra / Georges Pretre
RTF Choir & Orchestra / Georges Pretre
Suite from Ballet - Les Biches
Litanies a la Vierge Noire de Rocamadour
Concerto in G minor for organ, strings & timpani
Gloria
Litanies a la Vierge Noire de Rocamadour
Concerto in G minor for organ, strings & timpani
Gloria
“The racy style of the orchestral playing is instantly infectious in the opening rondeau with catchy trumpet solo” (Gramophone)
“Like so many of his religious works, it finds the composer at his best: behind its joyous, lucid facade lies a deep sincerity, which in the Domine Deus attains real beauty. Rosanna Carteri floats her octave rises exquisitely and is most touching in her litany of “Qui tollis peccata mundi”
“it is certainly the best of his concertos ... and despite the marking of Allegro giocoso for the first main section and an exuberant finale, there are undertones of serious drama-and the last pages are prayerful. Both soloist, and orchestra, are alert, vital and rhythmic, and, despite the difficulties of balancing an orchestra against a modern organ, are brilliantly engineered”
“Like so many of his religious works, it finds the composer at his best: behind its joyous, lucid facade lies a deep sincerity, which in the Domine Deus attains real beauty. Rosanna Carteri floats her octave rises exquisitely and is most touching in her litany of “Qui tollis peccata mundi”
“it is certainly the best of his concertos ... and despite the marking of Allegro giocoso for the first main section and an exuberant finale, there are undertones of serious drama-and the last pages are prayerful. Both soloist, and orchestra, are alert, vital and rhythmic, and, despite the difficulties of balancing an orchestra against a modern organ, are brilliantly engineered”



.jpg)








