Born in 1912, Rudolf Escher had not yet turned 30 when, in the depths of the Second World War, he began the score which would at a stroke make him the most important living composer in the Netherlands. Premiered by the Concertgebouw Orchestra in 1947, Musique pour l'esprit en deuil (1941-3) - 'Music for the grieving spirit' - is a 20-minute score of intense, brooding pathos, inevitably overwhelmed by the shadow of conflict and a worthy counterpart to contemporary works such as Honegger's Liturgique Symphony. Live recordings conducted by Eduard van Beinum and Bernard Haitink have been published, but this beautifully prepared studio recording is the work of their successor as music director of the Concertgebouw, Riccardo Chailly, who did so much to reconnect the orchestra with the music of our time during his tenure. Musique pour l'esprit en deuil is paired here with the Concerto for String Orchestra (1947-48), which attracted the admiration of John Cage, perhaps more for it's surprising points of serenity than it's Bartokian passages of tension and exhilarated release. Choral music occupied a significant place in Escher's fairly slender output. As a teacher and writer on music, a painter and a poet, Escher first thoroughly absorbed the poetry he was setting to music, then carefully devised his treatment of the words to make them both singable and understandable. His choice of poets - Paul Eluard, WH Auden, Emily Dickinson - is notable for it's response to text which makes the language new again. The same is true of Ciel, air et vents, a cycle of three songs to words by the 16th-century French poet Pierre Ronsard.
Born in 1912, Rudolf Escher had not yet turned 30 when, in the depths of the Second World War, he began the score which would at a stroke make him the most important living composer in the Netherlands. Premiered by the Concertgebouw Orchestra in 1947, Musique pour l'esprit en deuil (1941-3) - 'Music for the grieving spirit' - is a 20-minute score of intense, brooding pathos, inevitably overwhelmed by the shadow of conflict and a worthy counterpart to contemporary works such as Honegger's Liturgique Symphony. Live recordings conducted by Eduard van Beinum and Bernard Haitink have been published, but this beautifully prepared studio recording is the work of their successor as music director of the Concertgebouw, Riccardo Chailly, who did so much to reconnect the orchestra with the music of our time during his tenure. Musique pour l'esprit en deuil is paired here with the Concerto for String Orchestra (1947-48), which attracted the admiration of John Cage, perhaps more for it's surprising points of serenity than it's Bartokian passages of tension and exhilarated release. Choral music occupied a significant place in Escher's fairly slender output. As a teacher and writer on music, a painter and a poet, Escher first thoroughly absorbed the poetry he was setting to music, then carefully devised his treatment of the words to make them both singable and understandable. His choice of poets - Paul Eluard, WH Auden, Emily Dickinson - is notable for it's response to text which makes the language new again. The same is true of Ciel, air et vents, a cycle of three songs to words by the 16th-century French poet Pierre Ronsard.
5028421959672
Orchestra Chamber & Choral (3pk)
Artist: Concertgebouw Orchestra
Format: CD
New: Available 14.99
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DISC: 1
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1. Concerto For String Orchestra: I. Canto Appassionato, Energico Alla Breve
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2. Concerto For String Orchestra: II. Rondo Mediterraneo, Presto
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3. Concerto For String Orchestra: III. Ciaconna Epica, Grazioso E Con Moto
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4. Musique Pour L'esprit En Deuil
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5. Le Tombeau De Ravel: I. Pavane
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6. Le Tombeau De Ravel: II. Air
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7. Le Tombeau De Ravel: III. Forlane
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8. Le Tombeau De Ravel: IV. Sarabande
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9. Le Tombeau De Ravel: V. Rigaudon
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10. Le Tombeau De Ravel: VI. Air
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11. Le Tombeau De Ravel: VII. Hymne
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12. Trio À Cordes: I. Transformations
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13. Trio À Cordes: II. Réminiscences
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14. Trio For Clarinet, Viola And Piano: I. Intrada - Allegro Risoluto - Passaggio
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15. Trio For Clarinet, Viola And Piano: II. Passacaglia Notturna - Passaggio
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16. Trio For Clarinet, Viola And Piano: III. Comodo
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17. Songs Of Love And Eternity: I. These Are The Days When Birds Come Back
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18. Songs Of Love And Eternity: II. Wild Nights!
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19. Songs Of Love And Eternity: III. Heart, We Will Forget Him!
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20. Songs Of Love And Eternity: IV. The Wind Tapped Like A Tired Man
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21. Songs Of Love And Eternity: V. To Make A Prairie It Takes A Clover
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22. Poems, First And Second Series: Taste A Liquor Never Brewed
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23. Le Vrai Visage De La Paix
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24. Ciel, Air Et Vents: I. Ode
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25. Ciel, Air Et Vents: II. Chanson
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26. Ciel, Air Et Vents: III. Sonnet
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27. Three Poems By W.H. Auden: I. If I Could Tell You
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28. Three Poems By W.H. Auden: II. A Curse
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29. Three Poems By W.H. Auden: III. Warm Are The Still And Lucky Miles
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Born in 1912, Rudolf Escher had not yet turned 30 when, in the depths of the Second World War, he began the score which would at a stroke make him the most important living composer in the Netherlands. Premiered by the Concertgebouw Orchestra in 1947, Musique pour l'esprit en deuil (1941-3) - 'Music for the grieving spirit' - is a 20-minute score of intense, brooding pathos, inevitably overwhelmed by the shadow of conflict and a worthy counterpart to contemporary works such as Honegger's Liturgique Symphony. Live recordings conducted by Eduard van Beinum and Bernard Haitink have been published, but this beautifully prepared studio recording is the work of their successor as music director of the Concertgebouw, Riccardo Chailly, who did so much to reconnect the orchestra with the music of our time during his tenure. Musique pour l'esprit en deuil is paired here with the Concerto for String Orchestra (1947-48), which attracted the admiration of John Cage, perhaps more for it's surprising points of serenity than it's Bartokian passages of tension and exhilarated release. Choral music occupied a significant place in Escher's fairly slender output. As a teacher and writer on music, a painter and a poet, Escher first thoroughly absorbed the poetry he was setting to music, then carefully devised his treatment of the words to make them both singable and understandable. His choice of poets - Paul Eluard, WH Auden, Emily Dickinson - is notable for it's response to text which makes the language new again. The same is true of Ciel, air et vents, a cycle of three songs to words by the 16th-century French poet Pierre Ronsard.