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Cecile Chaminade - Piano Music Vol 2, Peter Jacobs

Posted By: Howards_End
Cecile Chaminade - Piano Music Vol 2, Peter Jacobs

Cecile Chaminade - Piano Music Vol 2, Peter Jacobs
Genre: Classical | FLAC | 1 CD | Covers | 222 Mb | Hyperion | Rs.com


1. Arlequine Op 53 [3'01]
2. Piece romantique Op 7 No 1 [2'42]
3. Chanson bretonne No 5 of Romances sans paroles Op 76 [2'09]
4. Divertissement Op 105 [2'16]
5. Consolation No 5 of Pieces humoristiques Op 87 [4'50]
6. Passacaille Op 130 [3'14]
7. Nocturne Op 165 [4'37]
8. Scherzo-valse Op 148 (d’apres Op 126 No 6) [2'49]
9. Sous bois No 2 of Pieces humoristiques Op 87 [3'13]
10. Etude symphonique Op 28 [5'24]
11. Elegie Op 98 (Feuillets d’album No 3) [3'04]
12. Gigue Op 43 [3'31]
13. Au pays devaste Op 155 [6'31]
14. Pastorale Op 114 [4'49]
15. Libellules Op 24 [2'19]
16. Valse tendre Op 119 [3'46]
17. Tristesse Op 104 [3'55]
18. Impromptu No 5 of Etudes de concert Op 35 [3'51]
19. Tarentelle No 6 of Etudes de concert Op 35 [4'35]

Hyperion's first volume of Jacobs playing Cecile Chaminade's piano music (9/92) must have received a rapid endorsement from CD buyers, since it has very quickly been followed by this second volume, which I confess to finding even more attractive than its predecessor.
Chaminade made no pretence at writing lofty music that made intellectual demands on the listener. Instead she concentrated on music that is conventionally harmonic, richly melodic, highly resourceful, and always thoroughly relaxed and relaxing. Nothing here shows off the warmth of her lyrical style better than the aptly named Poeme romantique, Op. 7 No. 1, which is just one of the pieces here that immediately impress. The melody is in the left hand, with quaver accompaniment in the right, a similar feature occurring also in the much later ''Sous bois'' from the Pieces humoristiques, Op. 87. At the bottom of Chaminade's style there is something undeniably Chopinesque, or indeed Lisztian in the case of the delightful ''Consolation'' from the same Op. 87 set. There is plenty of variety about Chaminade's music, too, with lots of engaging twists and some especially energetic passages in the Gigue, Op. 43 and the ''Tarantella'' from Op. 35.

Peter Jacobs has made an admirable job of selecting the contents of this second collection, not only to highlight the charm and richness of this varied output but also to avoid any duplication of Eric Parkin's Chandos collection. The Chaminade enthusiast thus now has three extended CD collections with few duplications. As for Jacobs's style, it is marvellously relaxed, enabling him to catch all the charm, warmth and lyricism of the music. One is left feeling the urge to try the pieces at the piano oneself, whilst recognizing that one would never match Jacobs's artistry. That, I suppose, is just as it should be.'
Andrew Lamb (Gramophone)