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  • 马斯内：埃斯克拉蒙德组曲／第一组曲／灰姑娘组曲
    MASSENET: Escarlmonde Suite / Suite No. 1 / Cendrillon Suite
    专辑号：8.223354
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• • 马斯内：埃斯克拉蒙德组曲／第一组曲／灰姑娘组曲/MASSENET: Escarlmonde Suite / Suite No. 1 / Cendrillon Suite
  • [ 介绍 ]
  • JulesMassenet (1842-1912) Suitefrom Esclarmonde SuiteNo. 1, Op. 13 Suitefrom Cendrillon RomainRolland once clairned !hat the spirit of Massenet sleeps at the heart of everyFrenchman. The most successful opera composer of his generation in France,Massenet wrote music that has sometimes inspired cynicism and hostility throughits particularly sensuous beauty, a quality that has to some seerned facile andsuperficial. The criticism itself may now appear in the same terms. Massenetcoupled technical command with a gift for graceful melody and exercised astrong influence over his successors, perceptible in the work of Debussy and ofRavel, as of Puccini. The very charm and grace of his music was to earn him thenick-name bestowed on him by his enernies, "la fille de Wagner". JulesMassenet was born in 1842, the son of a foundry-owner whose prosperity reliedon the production of scythes. A decline in business led the family to move in1847 from Saint-Etienne to Paris, where Madame Massenet supplernented thefamily income by giving piano lessons, her youngest son among her pupils. Atthe age of eleven Massenet entered the Conservatoire, where, in 1863, he wonthe Prix de Rome, his residence in Rome bringing some respite from the periodwhen, as a student, he had found it necessary to support himself by serving asa percussionist at the Opéra and as a café pianist. Successcame to Massenet through the support of his teacher at the Conservatoire,Arnbroise Thomas, and of his enterprising publisher Georges Hartmann. In 1872he won his first operatic triumph with the Victor Hugo adaptation Don César deBazan, followed, in 1873, by the sacred drama Marie-Magdeleine, a choice ofheroine that was characteristic in an age that made much of the repentance of afallen woman. Manon, in 1884, established his position without question,although the next opera, Le Cid, staged at the opéra in 1885, failed to please.The coincidence of a new libretto, based on a medieval romance, and a meetingwith the young American soprano Sybil Sanderson, lay behind the operaromanesque Esclarmonde, in which the title rôle was designed to exploit theremarkable range and quality of the young prima donna. The work was staged atthe Opéra-Comique in 1890 and impressed a Parisian audience increased by theExhibition of 1889. Based on the romance Partenopeus de Blois the opera tellsthe story of the princess Esclarmonde, daughter of the Emperor and magicianPhorcas, and her secret love for Roland. The hero, while away fighting theSaracens, breaks the oath of secrecy that he had sworn to his beloved, thepenalty for such treachery being death. From this fate he saves himself in atournament in the Ardennes forest and is rewarded with the hand of Esclarmonde.The spectacular opera includes a scene in which Roland is transported to amagic island to be greeted by Dream-Spirits and a scene of hunting in theforest. Massenetwrote eight orchestral suites, in addition to the suites arranged from operas,ballets and incidental music for the theatre. The second of these - the firstwas his Italian Pompeia Suite - was written in 1865, during the composer’sresidence at the Villa Medici in Rome after his triumph in the Prix de Rome. Itwas performed in Paris under the distinguished conductor Pasdeloup, but failedto impress either the public or the critics. One of the latter, Albert Wolff,remarked that the Suite suffered by appearing in the same programme as music byMozart and Mendelssohn and went on to describe how the suffering score had tobe taken to a near-by chemist to be given first aid, before the invalid wastaken home by its composer. The sarcasm of the review provoked a reaction fromThéodore Dubois, future director of the Conservatoire, and a rejoinder fromMassenet himself, whoobserved that fools and intelligent men had one thing incommon, they were both liable to make mistakes. Whether Albert Wolff wasmistaken is a matter that an audience may now judge again for itself. The Suiteis in four sections, a demonstration of the early technical competence of thecomposer, whose very facility and gift for melody has all too often led to hisdismissal by those who seek in music a greater astringency of idiom. Massenet’sfairy opera Cendrillon, based on Perrault, was first mounted at the Opéra-Comiquein Paris in 1899. It follows in general the well known story of Cinderella andher bizarre family, although there is an additional episode in which her fatherPandolfe returns with his youngest daughter to the country farm where they hadlived before his second marriage. There, in a mysterious dream, Cendrillonmeets her Prince Charmant, a vision that precedes the traditional dénouement,when the glass-slipper is found to fit her foot. The spectacular opera has muchactivity for the fairies at the command of the Fairy Godmother and evokes inthe court dances the world of Cendrillon. Something of the magic of the operais recalled in the concert suite drawn from an opera that makes equally heavydemands on singers and on the scenic and financial resources of any operahouse, but is hampered by a weak libretto. KennethJean AssociateConductor of the Chicago Symphony Orchestra and Music Director of the FloridaSymphony Orchestra, Kenneth Jean is a young conductor making his presence knownboth nationally and internationally. Born in New York City, he grew up in HongKong and returned to the United States in 1967 to live in San Francisco. Afterviolin studies at San Francisco State University, he entered the JuilliardSchool at the age of 19 and was accepted into the conducting class of JeanMorel. The following year he made his Carnegie Hall début with the YouthSymphony Orchestra of New York and was immediately engaged as the orchestra’sMusic Director. From 1979 until 1985 Kenneth Jean served as Resident Conductorof the Detroit Symphony Orchestra. Previously, he was Conducting Assistant ofthe Cleveland Orchestra for two seasons. He has recorded works by Mendelssohn,Tchaikovsky, Beethoven, Falla, Albeniz and Ravel for Naxos, and Chinese contemporaryworks for HK.
  • • 专辑列表
    • Esclarmonde Suite

      

      1: I. Evocation

      06:30

      2: II. Lile magique

      06:31

      3: III. Hymenee

      04:39

      4: IV. Dans la foret: Pastorale - Chasse

      05:44

      Suite No. 1, Op. 13

      

      5: I. Pastorale et Fugue

      05:45

      6: II. Variations

      05:33

      7: III. Nocturne

      06:32

      8: IV. Marche et Strette

      06:51

      Suite de Cendrillon

      

      9: I. Marche des princesses

      04:15

      10: II. Les filles de noblesse

      02:37

      11: III. Menuet de Cendrillon

      03:27