wimpel69
12-10-2016, 11:39 AM
Please request the FLAC links (including the cover art and a profile
of the conductor) in this thread. PMs will be ignored! These are my own rips.
Please do not share my material any further, also please
add to my reputation!
Born in France to Swiss parents, Arthur Honegger (1892-1955) was a major twentieth century composer whose
musical style was more cosmopolitan than either French or Swiss. An almost exact contemporary of Prokofiev (1891-1953),
he rivaled Poulenc as the most successful member of Les Six and was without doubt among the greatest French composers
of his day. Stylistically, he was quite protean, eschewing the Impressionism of Debussy while absorbing certain features of
neo-Classicism and taking on a sometimes brash and usually rugged expressive manner, always within a tonal context.
Honegger became proficient on the violin as a child, but also developed an interest in composition early on. His first work,
an unorchestrated opera, Philippa, dates to 1903. He enrolled at the Zurich Conservatory while in his teens, where he
studied composition with Friedrich Hegar and violin with Willem de Boer. He left after two years for the more prestigious
Paris Conservatory in 1911, where he studied composition with Widor and G�dalge. Although he continued to take instruction
on the violin there, he was clearly more interested in a career as a composer. In 1913, his family relocated to Zurich, but
Honegger remained in Le Havre and commuted daily to Paris by train, perhaps one of the reasons he developed a fascination
with locomotives. His first works began gaining exposure by 1916 and four years later, he and his conservatory friends
Milhaud, Auric, and Tailleferre, along with Poulenc and Durey, found themselves aligned in the famous musical group
called Les Six, a name coined by critic Henri Collet. Les Six was formed in reaction to Impressionism and Wagnerian ideas,
but Honegger did not recognize any musical creed in his association with the group.
In 1923, Honegger composed one of his most famous works, Pacific 231 (Mouvement symphonique No. 1), a work
whose motoric qualities were inspired by the sounds and rhythms of a locomotive. The piece was a tremendous success and
spawned many imitations. In 1926, Honegger married a young, highly gifted French pianist Andr�e Vaurabourg. The two
rarely lived together during their marriage, owing to the composer's need for solitude in his creative activities. On concert tours,
however, they apparently shared quarters and throughout their marriage were otherwise a happy, loving couple.
The 1928 Rugby (Mouvement symphonique No. 2) was also a success for Honegger and is another example of the
composer being inspired by an extra-musical interest: he was a sports enthusiast, especially of rugby. Honegger made many
concert tours in the 1930s with his wife, who would perform his piano and chamber works or serve as accompanist to his
songs. His concert and compositional activity was curtailed for a year when he nursed his wife along to recovery following
a serious injury in a 1935 automobile accident. During the war years, Honegger taught at the �cole Normale de Musique
and made many trips to Zurich, where his Symphony No. 2 (1940-1941) was successfully premiered by Paul Sacher
and the Collegium Musicum on May 18, 1942. Honegger remained quite prolific during these dark years, especially in the
realm of film music. He wrote 11 film scores in the period of 1942-1943, though some were collaborations with other
composers, such as Jolivet. In 1947, on a concert tour in the United States, Honegger suffered a heart attack and thereafter
his health declined, severely limiting his musical activities, with his wife tending to him in his final year.
As he grew older, Honegger more and more embraced Catholicism. And as he lived through the war, the occupation,
and the liberation, he wrote his Symphony No. 3 "Liturgique" as "the reaction of modern man against barbarity, stupidity,
sufferings, mechanism, and bureaucracy." Composed between October 1945 and April 1946, Honegger described his
symphony as "a drama which is enacted, if you like, between three characters, real or symbolic: misery, happiness and man.
These are eternal themes. I have tried to bring them up to date." The work was premiered in August 1946 by Charles M�nch
in Switzerland. The "Liturgique" is scored for large orchestra and set in three movements with titles taken from the Catholic
liturgy: "Dies Irae," "De profundis clamavi," and "Dona nobis pacem." As Honegger vividly described them to a friend: "Dies
Irae" is "Human terror in from of divine wrath...Day of Wrath! There is a rapid succession of violent themes...there is not time
to breathe, no time to think, the hurricane carries everything before it, sweeps everything away. Blindly, furiously...";
"De profundis clamavi" is "the painful mediation of man forsaken by divinity -- a meditation which is already a prayer...
And how hard it is to put inside human mouths a hopeless prayer!"; and "Dona nobis pacem" is "Collective stupidity as a
heavy-footed march for which I wrote a deliberately idiotic theme...a feeling of rebellion dawns in the ranks of the victims...
a huge clamor thrice repeated breaks from the oppressed throats...a song of peace soars above the symphony as the dove
soared in the old days above the immensity of the ocean."
Honegger was the person who introduced Mikl�s R�zsa to film music over dinner(!) after a chamber concert with
works by both men in Paris. R�zsa asked Honegger how he could possibly make a living as a classical composer,
based on the fact that the returns from the chamber concert were just enough to pay for that one dinner. Honegger's
reply: "Film music!" "So you compose foxtrots?" R�zsa inquired. Honegger smiled and said: "No, real music".
This collection includes:
Symphony No.1
Symphony No.2
Symphony No.3, "Liturgique"
Symphony No.4, "Deliciae basiliensis"
Symphony No.5, "Di tre re"
Pacific 231
Rugby
Pastorale d'�t�
Mouvement Symphonique No.3
Music Composed by
Arthur Honegger
Played by the
Orchestre de la Suisse Romande
Conducted by
Fabio Luisi
"Italian conductor Fabio Luisi has witnessed a rapid rise from obscurity to prominence that almost seems
like the stuff of fantasy. Luisi originally trained at the piano and, after taking his diploma from the Paganini
Conservatory in his native Genoa, he settled in Paris and took private lessons with Aldo Ciccolini. During
a stint back in Italy playing accompaniments for singing lessons with Leyla Gencer, Luisi decided to broaden
his horizons through learning the art of conducting. Luisi relocated to Graz, where he studied under Milan
Horvat and made his conducting debut at the Graz Opera in 1984. Luisi's expertise in opera conducting and
wide understanding of repertoire attracted considerable attention, and by 1987 Luisi was accepting guest-
conducting positions throughout Europe. In 1990, Luisi founded the Graz Symphony Orchestra partly as a
means to branch into non-operatic orchestral literature, and he remained its music director until 1995.
From there Luisi moved to the Tonk�nstklerorchester in Vienna, which served as his home base until 2000.
In the meantime, he picked up secondary positions at a rate of one a year, slowly building the jet-setting
round of appointments in a variety of cities. Luisi formed part of a triumvirate of conductors leading the
MDR orchestra in from 1996 and was named sole director in 1999. In 1997, he accepted the role of music
director of the Suisse Romande Orchestra, which Luisi held for five years, and this really marked the
beginning of Luisi's career as a recording artist. In 2003, he took over the Dresden Staatskapelle and
the Semperoper, and in 2005 he was awarded the job of leading the Vienna Symphony. Luisi first
appeared in the United States in 2000 with New York Philharmonic and, that same year, with the Lyric
Opera of Chicago; his debut with the Metropolitan Opera came in 2005. If that is not enough, he also
appeared in guest conducting ventures in Japan, Sweden, Australia, and France. As of the spring of 2010,
Luisi became the Met's principal guest conductor, to assist with keeping up the number of productions
while James Levine dealt with serious health issues, and in 2011 he was named Principal Conductor."
Source: Cascavelle CDs, 2001 (My rips!)
Quality: FLAC 16-44 (incl. covers & conductor profile)
Please request the FLAC links (including the cover art and a profile
of the conductor) in this thread. PMs will be ignored! These are my own rips.
Please do not share my material any further, also please
add to my reputation!
of the conductor) in this thread. PMs will be ignored! These are my own rips.
Please do not share my material any further, also please
add to my reputation!
Born in France to Swiss parents, Arthur Honegger (1892-1955) was a major twentieth century composer whose
musical style was more cosmopolitan than either French or Swiss. An almost exact contemporary of Prokofiev (1891-1953),
he rivaled Poulenc as the most successful member of Les Six and was without doubt among the greatest French composers
of his day. Stylistically, he was quite protean, eschewing the Impressionism of Debussy while absorbing certain features of
neo-Classicism and taking on a sometimes brash and usually rugged expressive manner, always within a tonal context.
Honegger became proficient on the violin as a child, but also developed an interest in composition early on. His first work,
an unorchestrated opera, Philippa, dates to 1903. He enrolled at the Zurich Conservatory while in his teens, where he
studied composition with Friedrich Hegar and violin with Willem de Boer. He left after two years for the more prestigious
Paris Conservatory in 1911, where he studied composition with Widor and G�dalge. Although he continued to take instruction
on the violin there, he was clearly more interested in a career as a composer. In 1913, his family relocated to Zurich, but
Honegger remained in Le Havre and commuted daily to Paris by train, perhaps one of the reasons he developed a fascination
with locomotives. His first works began gaining exposure by 1916 and four years later, he and his conservatory friends
Milhaud, Auric, and Tailleferre, along with Poulenc and Durey, found themselves aligned in the famous musical group
called Les Six, a name coined by critic Henri Collet. Les Six was formed in reaction to Impressionism and Wagnerian ideas,
but Honegger did not recognize any musical creed in his association with the group.
In 1923, Honegger composed one of his most famous works, Pacific 231 (Mouvement symphonique No. 1), a work
whose motoric qualities were inspired by the sounds and rhythms of a locomotive. The piece was a tremendous success and
spawned many imitations. In 1926, Honegger married a young, highly gifted French pianist Andr�e Vaurabourg. The two
rarely lived together during their marriage, owing to the composer's need for solitude in his creative activities. On concert tours,
however, they apparently shared quarters and throughout their marriage were otherwise a happy, loving couple.
The 1928 Rugby (Mouvement symphonique No. 2) was also a success for Honegger and is another example of the
composer being inspired by an extra-musical interest: he was a sports enthusiast, especially of rugby. Honegger made many
concert tours in the 1930s with his wife, who would perform his piano and chamber works or serve as accompanist to his
songs. His concert and compositional activity was curtailed for a year when he nursed his wife along to recovery following
a serious injury in a 1935 automobile accident. During the war years, Honegger taught at the �cole Normale de Musique
and made many trips to Zurich, where his Symphony No. 2 (1940-1941) was successfully premiered by Paul Sacher
and the Collegium Musicum on May 18, 1942. Honegger remained quite prolific during these dark years, especially in the
realm of film music. He wrote 11 film scores in the period of 1942-1943, though some were collaborations with other
composers, such as Jolivet. In 1947, on a concert tour in the United States, Honegger suffered a heart attack and thereafter
his health declined, severely limiting his musical activities, with his wife tending to him in his final year.
As he grew older, Honegger more and more embraced Catholicism. And as he lived through the war, the occupation,
and the liberation, he wrote his Symphony No. 3 "Liturgique" as "the reaction of modern man against barbarity, stupidity,
sufferings, mechanism, and bureaucracy." Composed between October 1945 and April 1946, Honegger described his
symphony as "a drama which is enacted, if you like, between three characters, real or symbolic: misery, happiness and man.
These are eternal themes. I have tried to bring them up to date." The work was premiered in August 1946 by Charles M�nch
in Switzerland. The "Liturgique" is scored for large orchestra and set in three movements with titles taken from the Catholic
liturgy: "Dies Irae," "De profundis clamavi," and "Dona nobis pacem." As Honegger vividly described them to a friend: "Dies
Irae" is "Human terror in from of divine wrath...Day of Wrath! There is a rapid succession of violent themes...there is not time
to breathe, no time to think, the hurricane carries everything before it, sweeps everything away. Blindly, furiously...";
"De profundis clamavi" is "the painful mediation of man forsaken by divinity -- a meditation which is already a prayer...
And how hard it is to put inside human mouths a hopeless prayer!"; and "Dona nobis pacem" is "Collective stupidity as a
heavy-footed march for which I wrote a deliberately idiotic theme...a feeling of rebellion dawns in the ranks of the victims...
a huge clamor thrice repeated breaks from the oppressed throats...a song of peace soars above the symphony as the dove
soared in the old days above the immensity of the ocean."
Honegger was the person who introduced Mikl�s R�zsa to film music over dinner(!) after a chamber concert with
works by both men in Paris. R�zsa asked Honegger how he could possibly make a living as a classical composer,
based on the fact that the returns from the chamber concert were just enough to pay for that one dinner. Honegger's
reply: "Film music!" "So you compose foxtrots?" R�zsa inquired. Honegger smiled and said: "No, real music".
This collection includes:
Symphony No.1
Symphony No.2
Symphony No.3, "Liturgique"
Symphony No.4, "Deliciae basiliensis"
Symphony No.5, "Di tre re"
Pacific 231
Rugby
Pastorale d'�t�
Mouvement Symphonique No.3
Music Composed by
Arthur Honegger
Played by the
Orchestre de la Suisse Romande
Conducted by
Fabio Luisi
"Italian conductor Fabio Luisi has witnessed a rapid rise from obscurity to prominence that almost seems
like the stuff of fantasy. Luisi originally trained at the piano and, after taking his diploma from the Paganini
Conservatory in his native Genoa, he settled in Paris and took private lessons with Aldo Ciccolini. During
a stint back in Italy playing accompaniments for singing lessons with Leyla Gencer, Luisi decided to broaden
his horizons through learning the art of conducting. Luisi relocated to Graz, where he studied under Milan
Horvat and made his conducting debut at the Graz Opera in 1984. Luisi's expertise in opera conducting and
wide understanding of repertoire attracted considerable attention, and by 1987 Luisi was accepting guest-
conducting positions throughout Europe. In 1990, Luisi founded the Graz Symphony Orchestra partly as a
means to branch into non-operatic orchestral literature, and he remained its music director until 1995.
From there Luisi moved to the Tonk�nstklerorchester in Vienna, which served as his home base until 2000.
In the meantime, he picked up secondary positions at a rate of one a year, slowly building the jet-setting
round of appointments in a variety of cities. Luisi formed part of a triumvirate of conductors leading the
MDR orchestra in from 1996 and was named sole director in 1999. In 1997, he accepted the role of music
director of the Suisse Romande Orchestra, which Luisi held for five years, and this really marked the
beginning of Luisi's career as a recording artist. In 2003, he took over the Dresden Staatskapelle and
the Semperoper, and in 2005 he was awarded the job of leading the Vienna Symphony. Luisi first
appeared in the United States in 2000 with New York Philharmonic and, that same year, with the Lyric
Opera of Chicago; his debut with the Metropolitan Opera came in 2005. If that is not enough, he also
appeared in guest conducting ventures in Japan, Sweden, Australia, and France. As of the spring of 2010,
Luisi became the Met's principal guest conductor, to assist with keeping up the number of productions
while James Levine dealt with serious health issues, and in 2011 he was named Principal Conductor."
Source: Cascavelle CDs, 2001 (My rips!)
Quality: FLAC 16-44 (incl. covers & conductor profile)
Please request the FLAC links (including the cover art and a profile
of the conductor) in this thread. PMs will be ignored! These are my own rips.
Please do not share my material any further, also please
add to my reputation!
