Nadia Boulanger: Icon - The American Decca Recordings | Australian Eloquence ELQ4841384

Nadia Boulanger: Icon - The American Decca Recordings

£30.56

In stock - available for despatch within 1 working day

Label: Australian Eloquence

Cat No: ELQ4841384

Format: CD

Number of Discs: 5

Genre: Vocal/Choral

Release Date: 13th November 2020

Contents

Artists

Nadia Boulanger (harpsichord, piano)
Doda Conrad (bass)
Bernard Cottret (bass)
Hugues Cuenod (tenor)
Bernard Demigny (bass-baritone)
Paul Derenne (tenor)
Maria Feres (mezzo-soprano)
Jean Francaix (piano)
Violette Journaux (contralto)
Irma Kolassi (mezzo-soprano)
Jean Maciet (tenor)
Genevieve Massignon (soprano)
Donna Rumsey (soprano)
Nadine Sautereau (soprano)
Nancy Waugh (mezzo-soprano)
Flore Wend (soprano)
Instrumental and Vocal Ensemble

Conductor

Nadia Boulanger

Works

Bonnet, Pierre

Francion vint l'autre jour

Brahms, Johannes

Liebeslieder-Walzer, Neue (15), op.65
Quartets (3), op.64
Quartets (4), op.92
» no.1 O schone Nacht!
Quartets (6), op.112
» no.1 Sehnsucht
» no.2 Nachtens

Charpentier, Marc-Antoine

Medee (excerpts)

Costeley, Guillaume

Mignonne, allon voir si la Roze
Noblesse git au Coeur

Desprez, Josquin

Mille regretz

Janequin, Clement

Ce moys de may
Le chant des oyseaux

Jeune, Claude le

Hellas, mon Dieu ton ire s'est tournee
Revecy venir du printemps
Tu ne l'enten pas, c'est latin

Lasso, Orlando di

Bonjour, mon coeur
Quand mon mari s'en va dehors

Mauduit, Jacques

Vous me tuez si doucement

Monteverdi, Claudio

Madrigals, Book 4: SV75-93
» A un giro sol de' bell' occhi lucenti, SV84
» Sfogava con le stelle, SV78
Madrigals, Book 5: SV94-106
» Era l'anima mia, SV96
» O Mirtillo, Mirtill' anima mia, SV95
Madrigals, Book 6: SV107-116
» Qui rise, o Tirsi, SV113
Madrigals, Book 7: SV117-145
» Interrotte speranze, SV132
Madrigals, Book 8: SV146-167 'Madrigals of Love and War'
» Dolcissimo uscignolo, S161
» Su su, su pastorelli vezzosi
O come vaghi, SV315
Scherzi musicali
» Damigella tutta bella, SV235
» Quel sguardo sdegnosetto

Rameau, Jean-Philippe

Acante et Cephise, ou La sympathie (excerpt)
Castor et Pollux (excerpts)
Dardanus (extracts)
Hippolyte et Aricie (excerpts)
Les Indes galantes (excerpt)
Les fetes d'Hebe (excerpts)

Sermisy, Claudin de

Au joly boys
Hau, hau, hau le boys

Traditional

A declarer mon affection

Artists

Nadia Boulanger (harpsichord, piano)
Doda Conrad (bass)
Bernard Cottret (bass)
Hugues Cuenod (tenor)
Bernard Demigny (bass-baritone)
Paul Derenne (tenor)
Maria Feres (mezzo-soprano)
Jean Francaix (piano)
Violette Journaux (contralto)
Irma Kolassi (mezzo-soprano)
Jean Maciet (tenor)
Genevieve Massignon (soprano)
Donna Rumsey (soprano)
Nadine Sautereau (soprano)
Nancy Waugh (mezzo-soprano)
Flore Wend (soprano)
Instrumental and Vocal Ensemble

Conductor

Nadia Boulanger

About

From Monteverdi to Brahms via French Baroque rarities: the Decca Gold (US) legacy of a complete musician, newly remastered and issued complete for the first time, with fascinating liner notes by Nigel Simeone. Original jackets, limited edition.

Composer, teacher, organist, pianist, harpsichordist, choir trainer, conductor, musicologist: there seemed to be no end to the talents of Nadia Boulanger, though she liked to insist that her gifts paled in comparison to her tragically short-lived sister, Lili. Nadia compensated with ceaseless industry. By the time of her early twenties, having studied with Fauré and undertaken the famously rigorous Paris Conservatoire formation, she was already reviving Bach cantatas in concert. In this guise she came to the attention of the American heiress and assiduous sponsor of avant-garde culture in Paris, the Princesse de Polignac, and with her support founded a vocal consort which made valuable and often-reissued HMV recordings of Monteverdi and Brahms in the 1930s.

Boulanger’s postwar recordings for American Decca, while also made in Paris, are much less widely known, having been issued on Brunswick LPs with limited availability outside the US and on Decca Gold in the US. Having returned to Paris after her wartime exile on the American east coast, she revived her consort for concerts at the Polignac salon, drawing together the most resilient of her older colleagues, such as the tenor Hugues Cuénod, with younger vocal talents such as Nadine Sautereau and Irma Kolassi, who had already established an international career for themselves but were devoted to Boulanger and her tender tyranny in securing precise, selfless and stylish performances of a repertoire that was still largely the exclusive property of scholars rather than musicians.

As well as returning to Monteverdi, the American Decca sessions of 1952–54 venture into what was then much less familiar territory, of chansons and madrigals by the likes of Josquin, Lassus and Le Jeune, winding up with a typically flamboyant Janéquin showpiece which imitates an entire aviary. Then there are pioneering records of excerpts from music-dramas by Charpentier and Rameau, and finally a return to Brahms’s domestic vocal music, though as with Monteverdi in ‘new’ and complementary repertoire, the Neue Liebeslieder and a selection from the more introspective late vocal quartets, opp. 92 and 112. On all these records Boulanger’s affection for the music shines through, as well as her scrupulous attention to the detail of its expression.

Error on this page? Let us know here

Need more information on this product? Click here