JEUX À LA FRANÇAISE

Composer(s): Louis Vierne, Charles-Marie Widor, Claude Debussy, Thierry Escaich

Artist(s): Armance Quéro, Joseph Birnbaum
Reference: KTC1587
Barcode: 8711801015873
Format: 1 CD
Release date: 2017-10-18
SKU: KTC1587 Categories: , , , , ,

 21,50

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The scarcity of the repertoire and the performers’ desire to have new pieces to play are the arguments put forth by the composer during his negotiations with his publisher about his latest work. However, the historical facts are somewhat less clear-cut. From the second half of the nineteenth century, the French repertoire for cello and piano already contained many sonatas – by Charles-Valentin Alkan (1857), Louise Farrenc (1857), Henri Duparc (1867), Camille Saint-Saëns (1872 and 1905), Charles-Marie Widor (1880), Maurice Emmanuel (1890), Albéric Magnard (1911) and Louis Vierne (1911). On the other hand, Debussy’s was obviously the catalyst for many works after its publication, such as the sonatas by Gabriel Fauré (op. 117 in 1917, op. 121 in 1921), Charles Kœchlin (1917), Arthur Honegger (1920), Gabriel Pierné (1921) and Vincent d’Indy (1924). The reasons for this sudden proliferation are manifold. The sociological background was a significant factor, with the creation of the Société Nationale in 1871 and the Société Musicale Indépendante in 1909. To which must be added the weight of the chamber music societies and social circles, such as the musical salons of amateurs, music-lovers and professional musicians, including Saint-Saëns’ "Mondays" or Duparc’s "Tuesdays". Finally, the excellence of the French cello school also played a major role.

Long-time friends, Armance and Joseph, trained at the Paris Conservatoire, both have a passion for chamber music.

1. Sonate pour violoncelle et piano, Op. 27: I. Poco lento – Allegro moderato
Composer: Louis Vierne
Artist(s): Armance Quéro, Joseph Birnbaum

2. Sonate pour violoncelle et piano, Op. 27: II. Molto largamente
Composer: Louis Vierne
Artist(s): Armance Quéro, Joseph Birnbaum

3. Sonate pour violoncelle et piano, Op. 27: III. Risoluto – Allegro molto
Composer: Louis Vierne
Artist(s): Armance Quéro, Joseph Birnbaum

4. Trois pièces, Op. 21: I. Moderato
Composer: Charles-Marie Widor
Artist(s): Armance Quéro, Joseph Birnbaum

5. Trois pièces, Op. 21: II. Vivace appassionato
Composer: Charles-Marie Widor
Artist(s): Armance Quéro, Joseph Birnbaum

6. Trois pièces, Op. 21: III. Andante
Composer: Charles-Marie Widor
Artist(s): Armance Quéro, Joseph Birnbaum

7. Sonate pour violoncelle et piano, L.135: I. Prologue: Lent, sostenuto e molto risoluto
Composer: Claude Debussy
Artist(s): Armance Quéro, Joseph Birnbaum

8. Sonate pour violoncelle et piano, L.135: II. Sérénade: Modérément animé
Composer: Claude Debussy
Artist(s): Armance Quéro, Joseph Birnbaum

9. Sonate pour violoncelle et piano, L.135: III. Finale: Animé, léger et nerveux
Composer: Claude Debussy
Artist(s): Armance Quéro, Joseph Birnbaum

10. Nocturne
Composer: Thierry Escaich
Artist(s): Armance Quéro, Joseph Birnbaum

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JEUX À LA FRANÇAISE
 21,50
Listen on your favorite streaming service:Spotify IconSpotify
Listen on your favorite streaming service:Spotify IconSpotify

The scarcity of the repertoire and the performers’ desire to have new pieces to play are the arguments put forth by the composer during his negotiations with his publisher about his latest work. However, the historical facts are somewhat less clear-cut. From the second half of the nineteenth century, the French repertoire for cello and piano already contained many sonatas – by Charles-Valentin Alkan (1857), Louise Farrenc (1857), Henri Duparc (1867), Camille Saint-Saëns (1872 and 1905), Charles-Marie Widor (1880), Maurice Emmanuel (1890), Albéric Magnard (1911) and Louis Vierne (1911). On the other hand, Debussy’s was obviously the catalyst for many works after its publication, such as the sonatas by Gabriel Fauré (op. 117 in 1917, op. 121 in 1921), Charles Kœchlin (1917), Arthur Honegger (1920), Gabriel Pierné (1921) and Vincent d’Indy (1924). The reasons for this sudden proliferation are manifold. The sociological background was a significant factor, with the creation of the Société Nationale in 1871 and the Société Musicale Indépendante in 1909. To which must be added the weight of the chamber music societies and social circles, such as the musical salons of amateurs, music-lovers and professional musicians, including Saint-Saëns’ "Mondays" or Duparc’s "Tuesdays". Finally, the excellence of the French cello school also played a major role.

Long-time friends, Armance and Joseph, trained at the Paris Conservatoire, both have a passion for chamber music.