Debussy - Prelude a l’apres-midi d’un faune, En blanc et noir; Constant - Impressions de Pelleas | Fuga Libera FUG610

Debussy - Prelude a l’apres-midi d’un faune, En blanc et noir; Constant - Impressions de Pelleas

£23.61

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Label: Fuga Libera

Cat No: FUG610

Format: CD

Number of Discs: 2

Release Date: 16th November 2018

Contents

Artists

Lore Binon
Yves Saelens
Pierre-Yves Pruvot
Tijl Faveyts
Angelique Noldus
Camille Bauer
Inge Spinette
Jan Michiels

Works

Constant, Marius

Impressions de Pelleas

Debussy, Claude

En blanc et noir
Prelude a l'Apres-midi d'un faune (version for 2 pianos)

Artists

Lore Binon
Yves Saelens
Pierre-Yves Pruvot
Tijl Faveyts
Angelique Noldus
Camille Bauer
Inge Spinette
Jan Michiels

About

Marius Constant, who had an intimate knowledge of Debussy’s Pelléas et Mélisande, published Impressions de Pelléas, published in 1992 an abridged version (95 minutes instead of 150) for six singers and two pianists. In an intense flow of music, he telescopes the five acts with great finesse, removing a few scenes and making a fair number of cuts and a few minimal adjustments to the musical material. For the scenography, he suggested, ‘We are in an early twentieth-century salon’ This reflects the fact that during the genesis of Pelléas, Debussy regularly played fragments of it for his circle of friends. In this version, both listeners and performers are involuntarily swept towards the origin and essence of Debussy’s masterpiece: a ‘music of the soul’ in which we can all recognise our own Mélisande, Pelléas, Arkel, Geneviève, Yniold and Golaud. This chamber version of the opera is completed by the Prélude à l’après-midi d’un faune in Debussy’s own transcription for two pianos and the suite En blanc et noir. The two pianos used are the new straight-strung instruments built in Belgium by Chris Maene at the request of Daniel Barenboim.

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