Wydawnictwo: Etcetera
Nr katalogowy: KTC 1600
Nośnik: 1 CD
Data wydania: październik 2017
EAN: 8711801016009
Nr katalogowy: KTC 1600
Nośnik: 1 CD
Data wydania: październik 2017
EAN: 8711801016009
Nasze kategorie wyszukiwania
Epoka muzyczna: 20 wiek do 1960, romantyzm, współczesna
Obszar (język): holenderski, francuski, angielski
Rodzaj: trio, suita, wariacje
Epoka muzyczna: 20 wiek do 1960, romantyzm, współczesna
Obszar (język): holenderski, francuski, angielski
Rodzaj: trio, suita, wariacje
Pierne / Smit / Goossens: Sepia & Amaranth
Etcetera - KTC 1600
Wykonawcy
Ensemble Lumaka
Ensemble Lumaka
Utwory na płycie:
Voayage au "Pays du tendre" (für Flöte, Violine, Viola, Violoncello und Harfe)- Trio (für Flöte. Viole und Harfe)
- Suite op. 6 (für Flöte, Violine und Harfe) - Impromptu
- Suite op. 6 (für Flöte, Violine und Harfe) - Serenade
- Suite op. 6 (für Flöte, Violine und Harfe) - Divertissement
- Deux pièces en Trio op. 80 (für Flöte, Violoncello und Harfe) - Assez lent
- Deux pièces en Trio op. 80 (für Flöte, Violoncello und Harfe) - Allegro moderato
- Variations libres et Finale op. 51 (für Flöte, Violine, Viola, Violoncello und Harfe)
Gabriel Pierne:
Voyage au “Pays du Tendre“ (flute, violin, viola, cello & harp)
Variations libres et Finale op. 51 (flute, violin, viola, cello & harp)
Leo Smit:
Trio (flute, viola & harp)
Eugene Goossens:
Suite op. 6 (flute, violin & harp)
Joseph Jongen:
Deux pieces en Trio op. 80 (flute, cello & harp)
Voyage au “Pays du Tendre“ (flute, violin, viola, cello & harp)
Variations libres et Finale op. 51 (flute, violin, viola, cello & harp)
Leo Smit:
Trio (flute, viola & harp)
Eugene Goossens:
Suite op. 6 (flute, violin & harp)
Joseph Jongen:
Deux pieces en Trio op. 80 (flute, cello & harp)
The Ensemble Lumaka on Pierné, Smit, Goossens and Jongen Miriam: “Harpists have to live with the fact that almost no ‘great’ composers have composed for the instrument; there is a small piece by Beethoven, a concerto by Mozart, nothing by Bach, Schumann or… We are therefore always looking for interesting repertoire in archives and along the less travelled paths of music history.
This has many advantages, because there you can discover things that are totally unknown, things that are both surprising and challenging. Lumaka began as a trio with flute, viola and harp. We soon came to realise that there was actually a large body of music that had been composed for harp quintet: string trio, flute and harp. The majority of pieces written for this combination of instruments were composed during the 1920s, when the harp had become fashionable as a solo instrument, in France in particular.
For me these pieces contain an endless world of timbres, contrasts and stylistic influences the music of the 1920s was as turbulent as the years themselves. These works awaken our imaginations and challenge us to work towards even finer performances. Of course, I also hope that we communicate this enthusiasm, that we can transport our audiences into this world and let them enjoy the sounds and the colours of the period!”
This has many advantages, because there you can discover things that are totally unknown, things that are both surprising and challenging. Lumaka began as a trio with flute, viola and harp. We soon came to realise that there was actually a large body of music that had been composed for harp quintet: string trio, flute and harp. The majority of pieces written for this combination of instruments were composed during the 1920s, when the harp had become fashionable as a solo instrument, in France in particular.
For me these pieces contain an endless world of timbres, contrasts and stylistic influences the music of the 1920s was as turbulent as the years themselves. These works awaken our imaginations and challenge us to work towards even finer performances. Of course, I also hope that we communicate this enthusiasm, that we can transport our audiences into this world and let them enjoy the sounds and the colours of the period!”
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