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Henri ORMIÈRES

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Organiste (prénom NOM)    Titre du disque
Compositeur (NOM) Oeuvre  Lieu / Eglise

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  1 disque  

 1 -
   • Concertos for orchestra •
  • T. Escaich : PSALMOS, SINFONIA CONCERTANTE POUR ORCHESTRE (2016)
  • S. Currier : Flex
  • Z. Tian : Concerto for orchestra
- Cincinnati
- Disque www.cincinnatisymphony.org/watch-plus-listen/concertos-for-orchestra/, 2016, Cincinnati Symphony Orchestra, dir. Louis Langrée
Psalmos, his new work written for the CSO, is based on chorale melodies familiar from the works of Bach (as well as other representatives of the German Lutheran tradition), but it takes those chorale melodies to places they have never been before.

The work opens with a solo flute playing “Nun komm, der Heiden Heiland” (“Now come, Saviour of the Heathens”; the melody is based on the Gregorian hymn “Veni creator gentium”). Escaich had previously used this same chorale in his Evocation III for organ (2008), a work that, in the words of another British reviewer, did not handle his source material with “kid gloves,” and subjected it to “treatment that ranges from tender caresses to the aural equivalent of thwacking it with a blunt instrument.” The same description applies, to some extent, to the new piece as well: after the theme is introduced softly in a slow introduction, it receives a much more dramatic treatment in the ensuing “Vivacissimo.” After small fragments from the theme enter over an agitated repeated-note accompaniment, the chorale is presented in a sharply profiled rhythmic version by the trumpets and trombones. Then, a long, drawn-out decrescendo leads to a more lyrical statement of the chorale melody on the horn, punctuated by the magical sounds of the vibraphone, celesta, harp and piano. The music seems to ‘float away’ at the end, connecting to the second movement, marked “Andante un poco rubato.” Intertwining declamatory melodies played by three solo strings (violin, viola, cello and, later, three cellos or three violas) prepare for “O Haupt voll Blut und Wunden” (“O sacred head, now wounded”), the principal chorale in Bach’s St. Matthew Passion, played here by the woodwind choir and horns. The trumpets immediately respond with “Ein’ feste Burg ist unser Gott” (“A mighty fortress is our God”). Both chorale melodies are treated very freely; their development culminates in a dramatic climax that subsides as the oboe brings back “Nun komm, der Heiden Heiland.” A rhapsodic cello solo brings this movement to its close.

The third movement (“Allegro giocoso”) plays the role of the scherzo in this four-movement sinfonia concertante. Over an excited ostinato in mixed meters played by the marimba and the vibraphone, we hear various chorale-like fragments until, finally, “Nun komm’” bursts forth one more time on violas and cellos accompanied by low winds and piano, followed by “Ein’ feste Burg” on trumpets. The ostinato gives way to a hymn-like statement of this most famous of Lutheran chorales, transitioning into the final “Allegro”, a colorful fantasy on the same melody. The work ends in a glorious tutti, with a unison C played in triple forte, reviving— and re-validating—a traditional closing gesture that nevertheless sounds very 21st century in this context.


  1 disque  


Source: base de donnée discographique Alain CARTAYRADE
www.france-orgue.fr


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