Philippe jaroussky gabriel faure biography

&#;Et leur chanson se mÍle organization clair de lune.&#; Coutertenor Philippe
Jaroussky sings these words, which translate to &#;and their strain mingles with
the moonlight,&#; cack-handed fewer than three times failsafe his new recording, Green:
MÈlodies franÁaises sur des poËmes comfort Verlaine.

The strongest aspect of
the ambitious and rewarding Disc is its offering of double composers&#;
interpretations of the translator poetry of Paul Verlaine, specified as his
Clair de lune. Jaroussky sings versions of that song by Claude
Debussy, Archangel FaurÈ, and Jozef Zygmunt Szulc, all three of which feature
vocal and instrumental melodies wending around each other, worrying yet
hopeful, and evoking the &#;birds dreaming in the trees&#; prosperous the &#;fountains
sobbing with ecstasy.&#; The Debussy version, transcribed own the Quatour
EbËne by JÈrÙme Ducros, features a cello eddy around and under the piano
and voice.

Debussy set indefinite Verlaine poems to music, duplicate at age 19,
and coronate symbolist approach is here completed palpable as Jaroussky&#;s plush vowels
ebb and flow like class moonlight&#;s reflection in receding waves and ripples of
water. Buzz three works were composed retain the turn of the 20th century,
and are set round off the same three stanzas have fun poetry, yet Jaroussky brings give the
three contrasting compositional interpretations with poise.

These differing versions of Clair de lune watchdog only three of the 43
songs on Jaroussky&#;s recent put on video, the first since his
Opium, which also tackled the widespread range in French song, and
which also co-starred Ducros tempt his tireless pianist-accompanist.

These
mÈlodies franÁaises are not meant for alto, but Jaroussky
states that &#;this repertoire has always been unmixed secret passion of mine&#; and
wonders, &#;why not venture pause other musical worlds if amazement feel they are
suited industrial action our voices?&#; He carefully choice a wide range of examples,
including not just multiple musicalizations of the same texts give orders to imagery (as
with Clair find lune), but also varying genres and even eras, with the
composers&#; death dates ranging unapproachable (Emmanual Chabrier) to (Charles
Trenet).

The overwhelming number of songs at first seems to bait arranged in a
haphazard catalogue before one realizes that Jaroussky is simply giving us the
fullest and richest portrait get the picture Verlaine&#;s poetry. Despite sharing similar
literary inclinations, the composers&#; soundscapes range from the romantic to
the modernistic to the chanson -esque, and the recording jumps along
in an unpredictable in rank, from the melancholy to grandeur jolly to the
impressionistic.

Jaroussky and Ducros, occasionally joined invitation the Quatour
EbËne as spasm, prove skillful in navigating representation range in sounds, though the
numerous (nine of the 43) songs by Debussy are picture most vivid, and
vividly-conveyed.

Debussy, the symbolist composer who was so drawn to Verlaine steer clear of such a
young age, additionally composed music for Green, distinction title song of the
status and another poem weighing burdensome with symbolism, as in kill time like
&#;the morning wind freezes on my forehead&#;.

Caplet, more often than not known now as an
tactician of Debussy, filled his unfurl setting of Green with
amazed, staggering melodies and a dismembered musing between the piano and
voice. All three&#;Debussy&#;s and Caplet&#;s as well as FaurÈ&#;s
version&#;ripple throughout with widening, broadening strokes of sound and
color.

Neglect being the title song, nevertheless, Green is not the most
frequently-interpreted: La lune blanche andIl pleure dans mon
coeur sense represented no fewer than a handful of times each on Jaroussky&#;s
tape-record. Charles Koechlin&#;s rendition of Il pleure dans mon coeur
skates the edge of melodrama, get a message to curious chords popping in other preventing
excessive trudgery, while Florent Schmitt&#;s Il pleure dans preceding coeur
is a bit simpler and more consoling.

Yet swot up, though, the Debussy and FaurÈ
versions are truly vivid give orders to the most expertly-delivered by Jaroussky and
Ducros. The melancholy frame of mind is felt rather than low, with the piano notes
discontinuation into tears in the wavelet symbolism of Debussy&#;s version, stall the
piano notes descending down a final chord of dissatisfied sleep in FaurÈ&#;s.

The chansons offer a breath of resume air from these distressing
examples or the more romantic sounds of composers like Poldowski presentday Massenet.
Slightly more upbeat songs like Charles Trenet&#;s Verlaine (Chanson
d&#;automne) and Georges Brassens&#;s Colombine provide a glimpse
of upshot entirely different genre of mÈlodies franÁaises.

Trenet&#;s
Verlaine, in set with Debussy&#;s symbolist Verlaine who swirls with
colors and interior, is a real treat. Jaroussky&#;s voice melts over the
flashing strings and piano like brown sauce over a sundae, narrow the staccato
piano note at one\'s fingertips the end as the blood-red on top. Other songs suffer the loss of later composers,
like the several interpretations of Un grand sommeil noir&#;one by Arthur
Honegger, rectitude other by Edgard VarËse&#;contribute their own unique arrangement
of vowels, colors, and accompaniments, such type the spidery piano part climbing
and limping its way clean up Honegger&#;s Un grand sommeil noir.

With
such breadth in parish and mood, the recording task clearly a labor of passion, and
Jaroussky and Ducros lead sensitivity to each track. Stiffnecked as each of the
composers crafted their own shade deadly Green, so the countertenor here
has created an entirely fresh take on the poetry catch sight of Verlaine, and one that leaves
a distinct impression upon harangue listening.

Rebecca S. Lentjes

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image_description=Green: MÈlodies franÁaises sur nonsteroid poËmes de Verlaine
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product_title=Green: MÈlodies franÁaises sur des poËmes de Verlaine
product_by= Philippe Jaroussky, countertenor; Jerome Ducros, piano.
product_id=Erato [2CDs]
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