(Classical) Charles Tournemire - Musique de Chambre (Poeme Mystique, Sagesse, Sonate-Poeme, Musique Orante) {Henriette Puig-Roget, Bernard Plantey, Devy Erlih, Quatuor de l'O.R.T.F.} - 1992, FLAC (tracks+.cue), lossless


 

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Henriette Puig-Roget, Bernard Plantey, Devy Erlih, Quatuor de l'O.R.T.F. - Charles Tournemire: Musique de Chambre
Жанр: Classical
Страна-производитель диска: Франция
Год издания диска: 1992
Издатель (лейбл): INA, Memoire vive
Номер по каталогу: 262006
Аудиокодек: FLAC
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 76:46
Источник (релизер): Dmnik (what)
Наличие сканов в содержимом раздачи: да
Треклист:
Charles Tournemire (1870-1939)
Poeme Mystique, Op.33
01. 1. Paraphrase (10:31)
02. 2. Evocation (6:06)
03. 3. Epilogue (6:32)
04. Sagesse, Op.34 (18:13)
05. Sonate-Poeme, Op.65 (18:54)
06. Musique Orante, Op.61 (16:30)
Исполнители:
Henriette Puig-Roget - piano (#1-5)
Bernard Plantey - tenor (#4)
Devy Erlih - violin (#5)
Quatuor de l'O.R.T.F. (#6)
Recorded in 1972-1973.

Лог создания рипа

Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 13. April 2014, 10:08
Bernard Plantey, Devy Erlih, Henriette Puig-Roget, Quatuor de l'O.R.T.F. / Musique de chambre
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TOC of the extracted CD
Track | Start | Length | Start sector | End sector
---------------------------------------------------------
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Track 1
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Copy CRC A488ECA3
Track not present in AccurateRip database
Copy OK
Track 2
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Track not present in AccurateRip database
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Track 3
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Track 4
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Accurately ripped (confidence 1) [66FE75FD] (AR v1)
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Track 5
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Track 6
Filename D:\Flac\Charles Tournemire - Musique de Chambre {Henriette Puig-Roget} (1992) [FLAC]\06 Musique Orante, Op. 61.wav
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1 piste(s) extraites exactement
5 piste(s) absente(s) de la base AccurateRip
Some tracks could not be verified as accurate
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End of status report
---- CUETools DB Plugin V2.1.4
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Submit result: Hlh7hkdeGOVBKlUOtZ4MHyjAfe0- has been uploaded
==== Log checksum 49771121399538F99504C336A09B0ACB765B16FB90C9C7C3865A0ED480180FB3 ====

Содержание индексной карты (.CUE)

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REM DATE 1992
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TITLE "Poeme Mystique, Op.33: Paraphrase"
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ISRC FRT159204010
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INDEX 01 00:00:00
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TITLE "Poeme Mystique, Op.33: Evocation"
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ISRC FRT159204010
INDEX 00 10:28:17
FILE "02 - Poeme Mystique, Op.33- Evocation.wav" WAVE
INDEX 01 00:00:00
TRACK 03 AUDIO
TITLE "Poeme Mystique, Op.33: Epilogue"
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ISRC FRT159204010
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PERFORMER "Henriette Puig-Roget"
ISRC FRT159204040
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FILE "06 - Musique Orante, Op.61.wav" WAVE
INDEX 01 00:00:00

Отчет CUETools

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Об альбоме (сборнике)

A new recording has just appeared of the chamber music of the French composer, Charles Tournemire (1870-1939); INA memoire Vive 262006, distributed by Qualiton. The pieces on the disc are: Poeme Mystique, op. 34 for solo piano; Sagesse, op. 35 for tenor & piano; Sonate-Poeme, op. 65 for violin & piano; and Musique Orante, op. 61 for string quartet. The CD is of ample length (more than 76 minutes), and the price at the local Tower was a modest $12.99.
Along with this disc, there were several new appearances on this label, which represents a concerted effort to make Radio France archival recordings available to the general public. These recordings were made in 1972 & 73, and the quality is excellent. No doubt, other interesting releases are on their way.
Tournemire is certainly best known for his organ music -- both as one of the great improvisors of this century, and as a prolific composer for the instrument. His massive tome, L'Orgue Mystique (op. 55, 56, 57) -- a cycle of pieces for the entire Catholic liturgical year, taking Tournemire more than five years to write (1927-32) -- is one of the largest legacies in Western music, unequalled in both functionality and depth. However, Tournemire composed in many forms: organ, piano, chamber, symphonies, oratorios, songs. His earlier works are varied in genre, followed by a period of several years concentrating on the eight symphonies, then five years on L'Orgue Mystique, and finally the closing years of his life, spent on impressive examples in many forms -- not least of these, chamber music.
His intellectual & expressive late organ music has made his name with many listeners. The 7 Chorale-Poemes, op. 67 are already available on at least three recordings. However, this is the first disc to give us a chance to hear Tournemire's only late chamber pieces, the Sonate-Poeme & Musique Orante. And this is a genre of special interest, since he was professor of chamber music at the Paris Conservatory, as well as being organist at Sainte-Clotilde. As such, this recording is especially valuable, and is even more so due to the presence of Tournemire's pupil, Henriette Puig-Roget, on the piano. These impressive performances also feature violinist Devy Erlih in the Sonate-Poeme; Bernard Plantey (tenor) & the Quatour de l'O.R.T.F. round out the cast. An extended interview with Ms. Puig-Roget is also a fascinating look at the composer.
Tournemire was a pupil of Franck, and his earliest works certainly show this influence directly. He was also highly influenced by the sonorities of Debussy, and these two precedents are combined directly and effectively in the Poeme Mystique -- probably Tournemire's most highly regarded early work. This is a quiet piece of cyclic forms and delicate sonorities, effective and direct. No doubt it was something of a synthesis for the young composer, and indeed the opening movement is entitled "Paraphrase," a form which would continue to find its way into his output as late as L'Orgue Mystique. The song cycle, Sagesse is a contemporaneous work, based on poems of Verlaine.
Tournemire continued to explore expanded modality, later incorporating ideas he found in Indian music. This was an obvious precedent for Messiaen, and has been acknowledged as such. Listening to each of their organ cycles from the 30s, the debt is obvious -- as is the answer to the question of whose style was most polished. Working on his eight symphonies, followed by five years of L'Orgue Mystique, was obviously a time of intense personal growth for Tournemire. By the last years of his life, Franck's influence is increasingly difficult to perceive, and Tournemire's personal style is fully evident in all its richness. Above all, this is marked by an equal mastery of both line and form. The symphonies brought the influence of Wagner & Mahler (explicitly noted in the scores), and the late chamber works have an almost Regerian tonal density -- yet, combined with Tournemire's fluid grace. Both works deserve to be much better known.
Hopefully this recording will establish another step toward recognizing Tournemire as one of the most important composers of the early 20th century -- recognition which has been slow in coming only because of the disruption of World War II immediately after his death.
T. M. McComb
late 1993



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