Ernest Alder - L'Opéra Concertant - Saint-Saëns, Thomas, Auber, Meyerbeer, Massenet (Trio Hochelaga)
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2011
Жанр: Classical/Chamber Music
Издатель (лейбл): ATMA Classique
Продолжительность: 01:18:29
Наличие сканов в содержимом раздачи: обложка, Буклет PDFТреклист:
Ernest Alder
01. Samson et Dalila (after Camille Saint-Saëns) [12:03]
02. Mignon (after Ambroise Thomas) [10:20]
03. La Muette de Portici (after Daniel-François-Esprit Auber) [10:37]
04. Le Pardon de Ploërmel (after Giacomo Meyerbeer) [12:18]
05. Les Huguenots (after Giacomo Meyerbeer) [12:41]
06. Le Cid (after Jules Massenet) [10:46]
07. Werther (after Jules Massenet) [9:20]Trio Hochelaga:
Anne Robert - Violin,
Paul Marleyn - Cello,
Stéphane Lemelin - Piano.Композитор:
Ernest Alder (1853-1904)Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/96
Формат: PCM
Количество каналов: 2.0Доп. информация: Catalogue No: ACD22652
Источник (релизер): Qobuz
Лог DR
foobar2000 1.4.8 / Dynamic Range Meter 1.1.1
log date: 2020-04-04 12:24:48
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Analyzed: Trio Hochelaga, Ensemble - Alder, Composer / Trio Hochelaga : Ernest Alder: L'Opéra Concertant (Saint-Saëns, Thomas, Auber, Meyerbeer, Massenet)
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DR Peak RMS Duration Track
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DR15 -0.09 dB -23.49 dB 12:07 01-Samson et Dalila (after C. Saint-Saens)
DR15 -3.53 dB -24.33 dB 10:27 02-Mignon (after A. Thomas)
DR16 -1.43 dB -23.47 dB 10:41 03-La Muette de Portici (after D-F. Auber)
DR16 -1.98 dB -24.56 dB 12:22 04-Le Pardon de Ploermel (after G. Meyerbeer)
DR14 -1.58 dB -22.07 dB 12:45 05-Les Huguenots (after G. Meyerbeer)
DR14 -1.19 dB -23.32 dB 10:51 06-Le Cid (after J. Massenet)
DR16 -1.17 dB -23.92 dB 9:20 07-Werther (after J. Massenet)
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Number of tracks: 7
Official DR value: DR15
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2395 kbps
Codec: FLAC
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About Ernest Alder
Le Ménestrel described Alder as "a distinguished musician, known especially for his many skillful arrangements for string quartet." He wrote graceful musique de salon for piano (Radieuse, Douxparfums, Lesalmées, Villagesuisse), choral music, and orchestral works,but it is as a transcriber and arranger that he is being rediscovered today. He is known for his two- or four-hand piano reductions of works by Beethoven (the Septet, in 1883), as well as of César Franck’s Symphony in D minor, and Vincent d’Indy’s La forêt enchantée. With Gounod’s blessing, he published a trio for piano, violin, and cello based on themes from Polyeucte in 1879 and returned to Gounod with arrangements from his operas Roméo et Juliette in 1893 and Faust in 1895.
During the 1890s, Alder successfully made transcriptions of a number of French theatrical works, including operas by Massenet (Hérodiade, Thaïs), Ernest Reyer (Sigurd), Ambroise Thomas (Hamlet, Mignon), Édouard Lalo (Le roi d’Ys), Georges Bizet (Carmen), Victor Massé (Paul et Virginie), and Léo Delibes (Lakmé), as well as the latter’s ballets Sylvia and Coppélia. He also tackled works by German composers — Carl Maria von Weber (Der Freischütz, 1885); Richard Wagner (Tannhäuser, 1900 and The Flying Dutchman and Lohengrin, 1903) — and by Italian masters — including Gaetano Donizetti (The Daughter of the Regiment), Giuseppe Verdi (La Traviata, Aïda, Requiem), Puccini (La Bohème), and even Pietro Mascagni (Cavalleria Rusticana).
Several of these arrangements were for one or two pianos, but contrary to what was said in Le Ménestrel, cited above, the instrumental line-up that seems to have inspired Alder most was that of the trio, either piano, violin, and cello, or piano, flute, and a string instrument. Twelve of his trios, including versions of Werther and Mignon, were published in 1894-95 in a collection entitled L’Opéra concertant, the first of what became a successful series of collections that was continued after Alder’s death by Léon Roques, Henri Mouton, and Émile Tavan. The French operas on which Alder’s trios are based are still being performed many decades after being written. They include such classics of the repertoire as La Muette de Portici (1828) by Daniel-François-Esprit Auber (1782-1871); Les Huguenots (1836) and Le Pardon de Ploërmel (1859) by Giacomo Meyerbeer (1791-1864); Mignon (1866) by Ambroise Thomas (1811-1896); and more recent works such as Le Cid (1885) and Werther (1893) by Jules Massenet (1842-1912), or Samson et Dalila (1877) by Camille Saint-Saëns (1835-1921), which was not premiered at the Paris Opera until 1892.
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发表于 2020-12-8 15:03:58
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