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Morgen | Richard Strauss

Total time: 49:33
Year: 2017
Format:
Type: Chamber music
Period: Classical
Country: Belgium
Instrument:

Price: €20,00
(In Stock)

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REF: CYP1676





Sébastien Walnier (cello) and Alexander Gurning (piano) A classical cellist, soloist of the Orchestre Symphonique de La Monnaie, committed to chamber music, jazz/rock and folk/fiddle meets an eclectic pianist well versed in Bach, Chopin, Franck and Corigliano, as in jazz and improvisation. Loco Motive Trio and Ô-Celli for the one, Soledad for the other and, until 2014, the Trio Talweg for both, founded in 2004 : Sébastien Walnier and Alexander Gurning have very serious fun in opening up the approaches to music, faithful to the style in which they perform, free to travel from one language to another. Between walking and awakening Walning explores genres with total complicity. Music is a way of accepting reality by expressing oneself without ambiguity of language. In an instant and in movement, it communicates the vibrations of an intimate, often chaotic world and orders it with sensitivity. The early works of Richard Strauss,his Sonata op.6 and the Romanze that followed it (1883) already reveal his harmonic mastery of the light that would blossom later in his orchestral pieces by breaking free of the words. This sure melodic instinct has encouraged us to perform three of his lieder composed between 1894 and 1899 without the words. These are not transcriptions or arrangements: the cello quite simply takes on the vocal part that is accompanied by the piano. This is a world premiere on disc. In Morgen however, we asked Lorenzo Gatto to perform the violin solo written for the original orchestral part. It is a one challenge for musicians to indicate the narrative expression of a lied without the text, even if we are not playing programme music. The pieces of Strauss lend themselves particularly to this by virtue of their clear structure and their implied narrative. In his day, he was quite out of step: he was not one of the ‘accursed composers’, the inheritors of the Viennese school that were leading their cultural revolution. On the contrary, like Rachmaninov or Mahler, he remained attached to a certain tradition, displaying a personal, quasi sculptural, even fantastical style. To be sure this approach did not find unanimous approval (read Debussy!), yet Strauss dealt very well with kitsch, ironically commenting on his adversaries’ “music of good taste”. Impossible to play it in an academic way! Strauss requires one to apply a touch of madness. For the recording we placed the microphones near each nstrument for a closeness of sound at times discreetly similar to that of jazz. This music lends itself to such treatment quite naturally. Neither revolutionary nor conventional, it sets in motion our vision of the classical without ever betraying it.


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