“Not a single millionaire among the many in Paris is even thinking about doing something for classical music. No, any composer outside of theatrical scene attempting to write a substantial work in Paris is left completely to his own resources.”
Thus wrote a bitter Hector Berlioz in 1854. About 30 years later, the music world in France had a completely different appearance. The defeat suffered in the French-Prussian war in 1870 had resulted in an upsurge of nationalism, of which music had reaped the benefits. In the concert hall, the reign of the German composers was slowly being usurped by the French composers. An important contributing factor was the founding of the Société Nationale de Musique in 1871. Proudly announcing its slogan ‘Ars Gallica’, this institute stimulated the composition and performance of French (instrumental) music. The Société brought about the first performances of new compositions by Chabrier, Debussy, Dukas, Ravel, Fauré, Franck and Lalo, to mention but a few. Furthermore, composers such as Jules Pasdeloup, Edouard Colonne (Concerts Colonne) and Charles Lamoureux (Concerts Lamoureux) placed a major role.
Tracklist
Please note that the below previews are loaded as 44.1 kHz / 16 bit.Total time: 01:02:33
Additional information
| Label | |
|---|---|
| SKU | PTC5186357 |
| Qualities | |
| Channels | 2ch Stereo, 5 Channel Surround Sound, 2ch Stereo & 5ch Surround |
| Artists | |
| Composers | |
| Genres | |
| Conductors | |
| Original Recording Format | |
| Producer | Job Maarse |
| Recording Engineer | Erdo Groot, Roger de Schot |
| Recording location | Victoria Hall, Geneva, Switzerland |
| Recording Software | Merging |
| Recording Type & Bit Rate | DSD64 |
| Release Date | August 7, 2015 |
Press reviews
AllMusic
French music of the late Romantic era was almost completely overshadowed by the established German tradition, to the effect that many exceptional composers, such as Vincent d’Indy, Camille Saint-Saëns, and Ernest Chausson, were relegated to secondary status. In the 21st century there are champions for French symphonic music, such as Marek Janowski and the Orchestre de la Suisse Romande, and the ongoing rediscovery of this somewhat neglected repertoire promises a restoration of some great pieces. Perhaps best known of the three selections, d’Indy’s Symphony on a French Mountain Air is wonderfully atmospheric, and its delicate orchestration and evanescent moods in some ways anticipate Impressionism. The Symphony No. 2 in A minor is played far less frequently than Saint-Saëns’ extremely popular Symphony No. 3, “Organ,” though it is a solid piece of craftsmanship and is quite representative of the Classically oriented French symphonies produced in the mid-19th century. On its surface, Chausson’s Soir de fête seems to have the strongest German flavor, yet while the composer was plainly influenced by Liszt and Wagner, the piece also owes a considerable amount of its verve to Berlioz. Janowski and the orchestra present these works with smooth technique and scintillating colors, and the depth and lushness of the ensemble’s sound come across impressively in the multichannel format.
All Music
French music of the late Romantic era was completely overshadowed by the established German tradition, to the effect that many exceptional composers, such as Vincent d’Indy, Camille Saint-Saëns, and Ernest Chausson, were relegated to secondary status.
In the 21st Century, there are champions for French symphonic music, such as Marek Janowski and the Orchestre de la Suisse Romande, and the ongoing rediscovery of this neglected repertoire promises a restoration of some great pieces. Best known of the three selections, d’Indy’s Symphony on a French Mountain Air is wonderfully atmospheric, and its delicate orchestration and evanescent moods in some ways anticipate Impressionism.
The Symphony No. 2 in A minor is played far less frequently than Saint-Saëns’ extremely popular Symphony No. 3, “Organ,” though it is a solid piece of craftsmanship and is quite representative of the Classically oriented French symphonies produced in the mid-19th century. On its surface, Chausson’s Soir de fête has the strongest German flavor, yet while the composer was plainly influenced by Liszt and Wagner, the piece also owes a considerable amount of its verve to Berlioz. Janowski and the orchestra present these works with smooth technique and scintillating colors, and the depth and lushness of the ensemble’s sound come across impressively in the Multichannel DSD format.
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