Clair-Obscur / Sandrine Piau, Orchestre Victor Hugo Franche-Comté, Jean-François Verdier
âThe dreamer! That double of our existence, that chiaroscuro of the thinking beingâ, wrote Gaston Bachelard in 1961. âThe old is dying, the new cannot be born, and in that chiaroscuro, monsters appearâ, adds Antonio Gramsci. Sandrine Piau has chosen to use these two quotations as an epigraph to her new recording: âMy family and friends know about this obsession that never leaves me completely. The antagonism between light and darkness. The chiaroscuro, the space in between . . .â This program, recorded with the Orchestre Victor Hugo under its conductor Jean-François Verdier, who is also principal clarinettist of the Paris OpĂ©ra, travels between the chilly Rhenish forest of WaldgesprĂ€ch, a ballad by Zemlinsky composed for soprano and small ensemble in 1895, the night of the first of Bergâs Seven Early Songs (1905-08), and the sunlight of Richard Straussâs Morgen, which are followed by the Four Last Songs, composed in 1948, the first two of which, FrĂŒhling and September (evoking spring and autumn respectively) are also, as Sandrine Piau concludes, âthe seasons of lifeâ.
âThe dreamer! That double of our existence, that chiaroscuro of the thinking beingâ, wrote Gaston Bachelard in 1961. âThe old is dying, the new cannot be born, and in that chiaroscuro, monsters appearâ, adds Antonio Gramsci. Sandrine Piau has chosen to use these two quotations as an epigraph to her new recording: âMy family and friends know about this obsession that never leaves me completely. The antagonism between light and darkness. The chiaroscuro, the space in between . . .â This program, recorded with the Orchestre Victor Hugo under its conductor Jean-François Verdier, who is also principal clarinettist of the Paris OpĂ©ra, travels between the chilly Rhenish forest of WaldgesprĂ€ch, a ballad by Zemlinsky composed for soprano and small ensemble in 1895, the night of the first of Bergâs Seven Early Songs (1905-08), and the sunlight of Richard Straussâs Morgen, which are followed by the Four Last Songs, composed in 1948, the first two of which, FrĂŒhling and September (evoking spring and autumn respectively) are also, as Sandrine Piau concludes, âthe seasons of lifeâ.
Description
âThe dreamer! That double of our existence, that chiaroscuro of the thinking beingâ, wrote Gaston Bachelard in 1961. âThe old is dying, the new cannot be born, and in that chiaroscuro, monsters appearâ, adds Antonio Gramsci. Sandrine Piau has chosen to use these two quotations as an epigraph to her new recording: âMy family and friends know about this obsession that never leaves me completely. The antagonism between light and darkness. The chiaroscuro, the space in between . . .â This program, recorded with the Orchestre Victor Hugo under its conductor Jean-François Verdier, who is also principal clarinettist of the Paris OpĂ©ra, travels between the chilly Rhenish forest of WaldgesprĂ€ch, a ballad by Zemlinsky composed for soprano and small ensemble in 1895, the night of the first of Bergâs Seven Early Songs (1905-08), and the sunlight of Richard Straussâs Morgen, which are followed by the Four Last Songs, composed in 1948, the first two of which, FrĂŒhling and September (evoking spring and autumn respectively) are also, as Sandrine Piau concludes, âthe seasons of lifeâ.
