Caillebotte Dies irae, Une journée & Psaume 132 Choeur régional Vittoria d'Île-de-France

• Martial Caillebotte (1853-1910): Dies irae
• 1 I. Dies irae 04:36
• 2 II. Quantus tremor est futurus 04:28
• 3 III. Quid sum miser 04:45
• 4 IV. Inter oves locum praesta 02:35
• 5 V. Oro supplex 03:01
• 6 VI. Huic ergo 03:54
• Édouard Blau (1836-1906): Une journée
• 7 I. Le lever du soleil (Poème) 01:07
• 8 II. Le lever du soleil (Musique) 05:51
• 9 III. Le poète (Poème) 00:43
• 10 IV. Le poète (Musique) 06:21
• 11 V. Le régiment qui passe (Poème) 01:10
• 12 VI. Le régiment qui passe (Musique) 04:00
• 13 VII. Promenade aux champs (Poème) 00:47
• 14 VIII. Promenade aux champs (Musique) 08:27
• 15 IX. L’Angélus (Poème et musique) 04:50
• 16 X. Le coucher du soleil (Poème) 00:54
• 17 XI. Le coucher du soleil (Musique) 04:55
• Martial Caillebotte (1853-1910): Psaume 132
• 18 I. Ecce quam bonum 05:58
• 19 II. Sicut unguentum 03:25
• 20 III. Quoniam illic 01:24
• 21 IV. Ecce quam bonum (Reprise) 04:19
• Total Runtime 01:17:30

Info zu Caillebotte Dies irae, Une journée & Psaume 132

Martial Caillebotte (1853-1910) appears today for what he was: a talented composer, not simply the little known brother of Gustave Caillebotte, pillar of impressionism and patron of Monet, Renoir and Degas.

His compositions impress us with the strength and richness of his sound palette and illustrate the luster and beauty of musical life in the great Parisian parishes at the end of the 19th century. This second recording is made up of three musical works: the Psaume 132 – Ecce quam bonum, the Dies Irae and a symphonic poem, Une Journée. Three works which, at the beginning of the 21st century, reveal how urgent it is to discover the music of this composer who has until now been eclipsed by his brother. The musician is not to be underestimated and his musical skills reveal a unique artistic talent.

Martial Caillebotte composed the Dies Irae in the early 1880s. It is an imposing piece, requiring a large orchestra, a choir and two soloists. Une Journée is called by Martial Caillebotte ‘scenes for orchestra and choir’. It is an atypical musical piece which mixes poetry with symphonic and vocal music. The choice of the Psaume 132 is a priori no mere coincidence. This psalm is in fact the penultimate of some fifteen psalms called the Songs of Ascents or Songs of Steps. Listening to these recordings confirms Martial Caillebotte’s important position in French musical history of the late 19th century.

Karine Deshayes, soprano
Clémentine Margaine, mezzo
Boris Mychajliszyn, tenor
Philippe Do, tenor
Rudi Fernández-Cardenas, baritone
Éric Villeminey, violoncelle
Paris Region Vittoria Choir
Orchestre Pasdeloup
Michel Piquemal, conductor

Keine Biografie vorhanden.

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