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TRO-CD 01406 - Germaine Tailleferre


Wochen-Kurier mit dem Heidelberger Amtsanzeiger,
Mai 2004

Es ist eigentlich kaum zu glauben, daß der legendäre Group des Six nicht nur aus Darius Milhaud, Francis Poulenc, und Arthur Honegger bestand: Louis Durey gehört nicht einmal zu den Randerscheinungen und von George Auric kennt man vor allem einige entzückende Filmmusiken, darunter diejenigen zu dem Ealing-Streifen The Titfield Thunderbolt – ja, und von Germaine Tailleferre ist mit schöner Regelmäßigkeit nur das Harfenkonzert zu hören.

Das Missverhältnis läßt sich mit der Qualität der Werke keineswegs begründen, wie das Label TROUBADISC schon zum 100. Geburtstag der beneidenswert aktiven Dame mit einer Produktion unterstrichen hat, die wir angesichts der Tatsache, dass der 20. Todestag der Komponistin nicht lange zurückliegt, noch einmal zur Anhörung empfehlen...


Fanfare (USA), 9/10 1993

When Germaine Tailleferre’s music appears on disc, it is almost invariably in a multi-composer compilation. Thus, an all-Tailleferre CD, TROUBADISC’s rewarding, enjoyable collection of chamber music by the long-lived (1892-1983) member of Les Six qualifies as a rarity. Spanning sixty years of her creative life, these eight small, concise, mobile works are tender, gentle, fresh, charming, and beautiful.

Image, a 1918 composition scored for flute, clarinet, celesta, piano, and string quartet blends Ravel’s rhythms and timbres with Milhaud’s polytonality. Image contains brief fragments from Ma mere l’Oye’s Laideronette and Satie’s Parade and is the most strikingly original piece here. 3:09 of pure enchantement! Polytonality gives way to impressionism in the 1919 string quartet, which, despite a brief foray into dissonance, evokes Debussy and Ravel.

In uncommon 6/16 time, the rhythmic finale features the solo first violin over a pedal point-based accompaniment, and has the vivacity of a farandole or tarantella. At 15:52, the neo-classical four‑movement Violin Sonata No.1 from 1921 is the longest of these eight compositions. Premiered by no less than Thibaud and Cortot, the first Violin Sonata may have introduced neo-classicism to France, and is a pungent mix of Stravinskian spikiness and French grace and sensuality.

Note the tantalizing foretaste of Stravinsky’s 1931 violin concerto. The melodic Second Violin Sonata came twenty-seven years later, in 1948. Harmonically closest to Ravel, it, too, is neo-classical.

Tailleferre turned to dodecaphony comparatively late, and the 1957 Sonata for Solo Clarinet is something of an oddity for her. Nocturnal, cool, angular, but never dissonant or grating it is less distinctive than her earlier efforts. By 1972-73, she embraced an almost Fauré-like Romanticism which tints the lovely, nostalgic Arabesque for clarinet and piano.

Fauré and Ravel again come to mind in the Forlane for flute and piano, a 1972 homage to her much admired earlier composer‑clavecinists; Couperin, Daquin, and Rameau. Classical purity and folkish simplicity characterize 1978’s Trio No.2. Walter Labhart’s excellent notes relate that, well into her old age, Tailleferre had to earn her living for teaching and accompanying children’s dances on the piano.

She also continued to compose for teaching purposes until shortly before her death. Much of her output remains unpulished; both Baker’s and Grove’s contain only selective lists.

Authoritative, idiomatic performances and very fine to excellent sonics. One track per movement; twenty in all. Since Troubadisc seems devoted to music by women, this reviewer hopes they turn attention to some British composers of more recent vintage: Priaulx Rainier, Thea Musgrave, and ,especially, Elisabeth Lutyens. Required for Francophiles and Impressionists; highly recommended to all others.
Benjamin Pernick


The Musical Times, Nov. 1993

…Just five years Boulanger’s junior, Germaine Tailleferre, inhabited a different world. A member of ‘Les Six’ her exposure to its negative influences (equally anti- Wagner and anti- Debussy) must have been unhelpful in forming her own musical personality. This disc offers a sampler of her composing life, from the remarkable Image for eight instruments (1918) to a sadly derivative little piano trio (1978), more repro than post-modern. The early works, notably Image and the String Quartet (1919), have rhythmic vivacity and textural complexity which is wholly fascinating to hear.

The same qualities surface intermittently in the Violin Sonata no.1 (1921), with its dazzling muted Scherzo, and enchantingly pastoral trio. Later, this vivacity seems stifled by nostalgia; graceful pastiches like the Arabesque for clarinet and piano (1972/73) or the haunting Forlane for the flute and piano (1972) are no substitute for the incisive clarity of the earlier works. …TROUBADISC offers exciting experiences…
Patricia Howard


Virgin Megapresse, 1997

…Germaine Tailleferre possède, quant à elle, le sens d’une musique subtile, entre poésie et divertissement. On découvre avec plaisir ce disque consacré à ses œuvres de musique de chambre, d’une écute toujours séduisante, avec ses audaces de jeune avantgardiste maîtrisées par un esprit foncièremant classique…
Benoit Duteurtre


Le Monde de la Musique, N°224,
Septembre 1998
Germaine Tailleferre fur formée au Conservatoire de Paris, où elle obtint plusieurs prix dans les classes de Caussade et Widor avant de se distinguer avec de remarquables Jeux de plein air, joués en 1917 – la même année que la création de Parade de Satie.

Tout d’abord rattachée aux « Nouveaux Jeunes » avec Honegger, Auric et Durey, elle devient membre du groupe des Six à sa création, en 1919. Dix ans plus tard, doutant de ses facultés, elle ne cherche pas à reprendre des cours mais suit les conseils de plusieurs compositeurs, dont Milhaud, Koechlin et Ravel. Reprenant sa Sonatine pur cordes de 1917, elle compose un Quatuor à cordes deux ans plus tard, qui, malgré une forme concise, ne se démarque pas assez de Ravel.

En revanche, il faut apprécier dans ce disque que lui consacrent des interprètes allemands (dans l’ensemble d’une grande probité) les tons impressionnistes d’Image (1918), le sérialisme chaleureux de la Sonate pur clarinette solo (1957) et le Trio de 1978 qui, malgré son écriture tardive, est un bel hommage à la liberté du Groupe des Six.
Frank Mallet





 

 

 

 

 





 
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(18.07.2014 - 16:25 Uhr)

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Kammermusik

"Image" für 8 Instrumente (1918)
Streichquartett (1919)
Violinsonaten Nr.1 (1921), Nr.2 (1948)
Sonate für Klarinette Solo (1957)
Arabesque für Klarinette und Klavier (1972/73)
Forlane für Flöte und Klavier (1972)
Klaviertrio (1978)

Renate Eggebrecht, Violine
Angela Gassenhuber, Klavier
Friedemann Kupsa, Violoncello
Deborah Marshall, Klarinette
Ulrike Siebler, Flöte
Fanny Mendelssohn Quartett

Germaine Tailleferre

 

"ma fille musicale"
Erik Satie

 

 

 

 

 


Le Groupe des Six, 1919
Jean Cocteau

 

 

 


 

"Marie Laurencin für das Ohr"
Jean Cocteau

 

 

 

 

 


Le Groupe des Six, 1952
mit Jean Cocteau