Guzman Hernando & Aurelio Viribay | Après Un Rêve

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Après Un Rêve

by Guzman Hernando & Aurelio Viribay

Après un rêve is not only a heartfelt tribute to the musical fusion between French and Spanish culture, to that respectful dialogue between the composers of both nations; it is indeed the proof of the French mélodie’s enormous polyhedral ability to express all kinds of imaginable moods that grant Guzman Hernando, with his tenor voice, and Aurelio Viribay, at the piano, the opportunity to demonstrate all their technical and expressive talent in their first collaboration at the recording studio.
Genre: Classical: Art songs
Release Date: 

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  Song Share Time Download
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1. Après un rêve, Op. 7, No. 1
Guzman Hernando & Aurelio Viribay
2:43 $0.99
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2. Tristesse, Op. 6, No. 2
Guzman Hernando & Aurelio Viribay
3:23 $0.99
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3. Les Berceaux, Op. 23, No. 1
Guzman Hernando & Aurelio Viribay
3:01 $0.99
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4. Prison, Op. 83, No. 1
Guzman Hernando & Aurelio Viribay
2:31 $0.99
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5. Mandoline, Op. 58, No. 1
Guzman Hernando & Aurelio Viribay
1:57 $0.99
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6. Siete Canciones Populares: I. El Paño Moruno
Guzman Hernando & Aurelio Viribay
1:16 $0.99
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7. Siete Canciones Populares: II. Seguidilla Murciana
Guzman Hernando & Aurelio Viribay
1:21 $0.99
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8. Siete Canciones Populares: III. Asturiana
Guzman Hernando & Aurelio Viribay
2:40 $0.99
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9. Siete Canciones Populares: IV. Jota
Guzman Hernando & Aurelio Viribay
3:08 $0.99
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10. Siete Canciones Populares: V. Nana
Guzman Hernando & Aurelio Viribay
1:55 $0.99
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11. Siete Canciones Populares: VI. Canción
Guzman Hernando & Aurelio Viribay
0:59 $0.99
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12. Siete Canciones Populares: VII. Polo
Guzman Hernando & Aurelio Viribay
1:30 $0.99
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13. Histoires naturelles: I. Le paon
Guzman Hernando & Aurelio Viribay
4:51 $0.99
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14. Histoires naturelles: II. Le grillon
Guzman Hernando & Aurelio Viribay
3:27 $0.99
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15. Histoires naturelles: III. Le cygne
Guzman Hernando & Aurelio Viribay
3:06 $0.99
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16. Histoires naturelles: IV. Le martin-pechêur
Guzman Hernando & Aurelio Viribay
3:22 $0.99
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17. Histoires naturelles: V. La pintade
Guzman Hernando & Aurelio Viribay
3:25 $0.99
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18. Tel jour telle nuit: I. Bonne journée
Guzman Hernando & Aurelio Viribay
2:40 $0.99
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19. Tel jour telle nuit: II. Une ruine coquille vide
Guzman Hernando & Aurelio Viribay
2:13 $0.99
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20. Tel jour telle nuit: III. Le front comme un drapeau perdu
Guzman Hernando & Aurelio Viribay
1:02 $0.99
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21. Tel jour telle nuit: IV. Une roulotte couverte en tuiles
Guzman Hernando & Aurelio Viribay
0:58 $0.99
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22. Tel jour telle nuit: V. À toutes brides
Guzman Hernando & Aurelio Viribay
0:41 $0.99
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23. Tel jour telle nuit: VI. Une herbe pauvre
Guzman Hernando & Aurelio Viribay
1:39 $0.99
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24. Tel jour telle nuit: VI. Je n'ai envie que de t'aimer
Guzman Hernando & Aurelio Viribay
0:52 $0.99
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25. Tel jour telle nuit: VII. Figure de force brûlante et farouche
Guzman Hernando & Aurelio Viribay
1:23 $0.99
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26. Tel jour telle nuit: VIII. Nous avons fait la nuit
Guzman Hernando & Aurelio Viribay
3:28 $0.99
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27. Cinco Canciones Negras: I. Cuba Dentro de un Piano
Guzman Hernando & Aurelio Viribay
4:25 $0.99
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28. Cinco Canciones Negras: II. Punto de Habanera
Guzman Hernando & Aurelio Viribay
1:56 $0.99
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29. Cinco Canciones Negras: III. Chévere
Guzman Hernando & Aurelio Viribay
2:04 $0.99
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30. Cinco Canciones Negras: IV. Canción de Cuna Para Dormir a un Negrito
Guzman Hernando & Aurelio Viribay
3:04 $0.99
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31. Cinco Canciones Negras: V. Canto Negro
Guzman Hernando & Aurelio Viribay
1:10 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Detailed review of this recording at : http://www.voix-des-arts.com/2015/03/cd-review-gabriel-faure-manuel-de-falla.html

Après un Rêve, is a collection of the most beloved songs from our recital repertoire, the outcome of an intense musical partnership and friendship. With this selection, we have chosen to showcase not only the evolution of French mélodie and its subsequent development in the 20th century, but also its influence of Spanish music and its captivating and seductive effect of which we, too, have been the victims as the performers, just as Falla and Montsalvatge were as composers in their day.

For this reason, the choice of composers and songs in this recital is neither simple nor casual; rather, it reflects the clear desire of two close friends and performers from Spain to pay a heartfelt tribute to that mutual influence, to that two-way Street between French and Spanish art, so full of both friendship and mutual respect between its main composers.

Let us begin this journey with a small but meaningful selection of and tribute to Gabriel Fauré (1845-1924), whom we can likely consider the father of mélodie along with Gounod, with his neatly neoclassical style. We have chosen five songs that are highly representative of his style, from Tristesse, or Les Berceaux, an example of his inexhaustible melodic inspiration in a style resembling the “café-concert”, to more reflexive works like Après un Rêve, or Prison, an exponent of Fauré’s predilection for the intense texts by Paul Verlaine. We have chosen the delightful and Versailles-esque Mandoline to close this group of songs by Fauré, as it imitates the strokes of the Spanish guitar which sounds in Falla’s Paño Moruno, the first of his Siete Canciones Populares Españolas (1915).

Indeed, we could think of nothing more iconic of Spain and Manuel de Falla (1876-1946) than this brilliant work by the composer from Cadiz. Inspired and influenced by the lessons he received from Ravel and Debussy in Paris, Falla drew from popular sources to fill himself with pure admiration of its variety and imagination. He extracted the very melodic substance and brilliantly recreated it in a perfect compositional synthesis, avoiding a direct quote from folklore in order to create both inspired and intimate music with a universal personality and vocation.

Our recital continues with Histoires Naturelles (1907), which is Maurice Ravel’s (1875-1937) most important contribution in the sphere of mélodie. They are the musical version of the prose texts by Jules Renard (1864-1910), who refers to human qualities with irony, humour and sarcasm through a description of animal behaviour. They sparked a scandal after their celebrated premiere in 1907, with Ravel himself at the piano. The composer explained that these songs are narrated in a conversational style more than sung, thanks to a kind of melodic recitative. The contrast triggered whenever the text is almost spoken is part of the personal, unique nature of these songs.

From the oeuvre of Francis Poulenc (1899-1963), we have chosen Tel Jour Telle Nuit not only because of its extraordinary beauty and modernity which is so often reminiscent of jazz but because it is perhaps the only example of a French mélodie series which resembles the German Romantic Lied series like Robert Schumann’s Dichterliebe and Frauenliebe und Leben, reflecting Poulenc’s express desire. To accomplish this, the composer bore in mind the architecture as a whole, including several transitional songs that act as a hinge between other more important ones, such as the last one, Nous Avons Fait la Nuit. This is one of Poulenc’s most beautiful songs which shares its tonality, tempo and character with the first one, thus providing the series with unity. The series which closes in fine German style with a long piano coda boasting intense lyricism. And just as its title heralds, it begins with a day song (Tel Jour) and ends with a night song (Telle Nuit).

And to conclude this foray into French mélodie and its universal appeal, even though at first glance it may seem strange, we thought that Xavier Montsalvatge (1912-2002) perfectly reflected the spirit of musical fusion and cross-breeding between the French and Spanish cultures, the real raison d’être of this record. Of his entire musical output, we have chosen his famous, successful series entitled Cinco Canciones Negras (1946), which is again a clear exponent of another musical fusion of those travelling songs and sounds from his period known as “Creolism” or “Antillesiam”.
Curiously, the Canción de Cuna para Dormir a un Negrito is the backbone of the entire series. Its success as a single song was what encouraged the composer to surround it with more songs to make a complete series, later adding Chévere and Canto Negro. The first was a strong, vigorous preparatory melody, while the second was a lively, joyful song to close it with a flourish. But dissatisfied with the resulting trio, the poet Luján convinced him to add a fourth song, Punto de Habanera, whose addition led to a total imbalance in the whole, in the composer’s opinion. Montsalvatge lost no time in deciding on Rafael Alberti’s nostalgic verses, “Cuba dentro de un Piano”, to start off the series masterfully.

This recital has reached the end, and we have seen not only the long journey that French mélodie travelled in its day, and but also its vast multifaceted capacity to capture the most varied states of the human spirit without altering its essence. From the romantic pain of Tristesse, the dream of lost love of Après un Rêve, the reflection of Prison, the humour or sarcasm of the brilliant Histories Naturelles and even the most plastic surrealism of Tel Jour Telle Nuit after its fusion with jazz, its capacity to express the entire possible variety of human moods and musical colours is inexhaustible.

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