Rachel Talitman-Harp,Marcos Fregnani-Martins-Flute,Erez Ofer-Violin,Igal Braslavsky-Viola,Karolina Maziarz-Cello | Belgian Chamber Music, Jean Absil, Michel Lysight

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Classical: Chamber Music Classical: Contemporary Moods: Type: Instrumental
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Belgian Chamber Music, Jean Absil, Michel Lysight

by Rachel Talitman-Harp,Marcos Fregnani-Martins-Flute,Erez Ofer-Violin,Igal Braslavsky-Viola,Karolina Maziarz-Cello

First Recording of two major Belgian composers Jean Absil and Michel Lysight
Genre: Classical: Chamber Music
Release Date: 

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  Song Share Time Download
clip
1. Chronographies X For Flute,Violin,Viola,Cello and Harp
Rachel Talitman-Harp,Marcos Fregnani-Martins-Flute,Erez Ofer-Violin,Igal Braslavsky-Viola,Karolina Maziarz-Cello
14:09 album only
clip
2. Michel Lysight - Trois Instantanés for Flute and Harp-Andante
Rachel Talitman-Harp,Marcos Fregnani Martins-Flute
1:48 album only
clip
3. Michel Lysight - Trois Instantanés for Flute and Harp -Moderato
Rachel Talitman-Harp,Marcos Fregnani-Martins-Flute
2:15 album only
clip
4. Michel Lysight - Trois Instantanés for Flute and Harp-Vivo
Rachel Talitman-Harprola,Marcos Fregnani-Martins-Flute
2:54 album only
clip
5. Michel Lysight - An Awakening Lento for Violin,Cello and Harp
Rachel Talitman-Harp,Erez Ofer-Violin,Karolina Maziarz-Cello
3:42 album only
clip
6. Michel Lysight - An Awakening Moderato
Rachel Talitman-Harp,Marcos Fregnani-Martins-Flute,Igal Braslavsky-Viola,Karolina Maziarz-Cello
2:48 album only
clip
7. Michel Lysight - An Awakening Andante
Marcos Fregnani-Martins-Flute
3:21 album only
clip
8. Michel Lysight - Riple Marks for Flute,Viola,Cello and Harp
Rachel Talitman-Harp,Erez Ofer-Violin
3:27 album only
clip
9. Michel Lysight- Labyrinthes for Flute Solo
Rachel Talitman-Harp,Marcos Fregnani-Martins-Flute,Erez Ofer-Violin,Igal Braslavsky-Viola,Karolina Maziarz-Cello
5:23 album only
clip
10. Jean Absil -Sicilienne for Violin and Harp
Rachel Talitman-Harp,Marcos Fregnani-Martins-Flute,Erez Ofer-Violin,Igal Braslavsky-Viola,Karolina Maziarz-Cello
3:02 album only
clip
11. Jean Absil-Concert À Cinq for Flute,Violin,Viola,Cello and Harp-Introduction and Allegro
Rachel Talitman-Harp,Marcos Fregnani-Martins-Flute,Erez Ofer-Violin,Igal Braslavsky-Viola,Karolina Maziarz-Cello
2:57 album only
clip
12. Jean Absil -Concert À Cinq Andante
Rachel Talitman-Harp,Marcos Fregnani-Martins-Flute,Erez Ofer-Violin,Igal Braslavsky-Viola,Karolina Maziarz-Cello
5:09 album only
clip
13. Jean Absil - Concert À Cinq Finale
Rachel Talitman-Harp,Marcos Fregnani-Martins-Flute,Erez Ofer-Violin,Igal Braslavsky-Viola,Karolina Maziarz-Cello
2:45 album only

ABOUT THIS ALBUM


Album Notes

Jean Absil (1893-1974) was a Belgian composer and teacher. Having first studied the organ, piano and harmony with Alphonse Oeyen (organist at the Bonsecours basilica), in 1913 Absil enters the Royal Conservatory of Brussels studying organ (class of Alphonse Desmet), piano and writing (counterpoint and fugue with Léon Du Bois) before moving to the study of orchestration and composition with Paul Gilson. In 1922 he came second at the Prix de Rome with his cantata La Guerre op. 2, and taught practical harmony at the Brussels Conservatory where he was appointed professor in 1936. Very soon he moves away from his teacher’s concepts of orchestration towards contemporary production.Living in Paris for a while, he won the Rubens Prize in 1934 and founded the “Revue internationale de la musique” in 1938. As leader of the group “La Sirene” he works to promote contemporary music. With his concerto for piano during the first Ysäye competition in 1938 (the predecessor of the Queen Elisabeth Concours) He gained international recognition.As director of the Etterbeek musical academy for 40 years and which, in 1963, was named after him, he trained several generations of composers. He was also appointed professor of fugue at the Royal Conservatory of Brussels and at the Musical Chapel Queen Elisabeth.In 1955, Absil was elected to the Royal Academy of Belgium and received the five - yearly prize of the Belgian government in 1964. As a musician trained according to the old style, he did not study any composers later than Cesar Franck; with Gilson he only looked at the orchestration of Wagner, Richard Strauss and the Russian nationalists. Nevertheless, at the time he entered the Conservatory, Stravinski was already making a name for himself in Paris. So it was through going to concerts given in Brussels by the Pro Arte Quartet that he familiarised himself with the works of Milhaud, Hindemith and Schönberg. He even participated often at this quartet’s repetitions in order to better absorb this music new to him.
So it was by himself that Absil developed his own, very personal and coherent language which he applied to various forms, defying the times. A rigorous composer, curious of all new tendencies in the art of sound, Absil managed to put together the French school, Stravinski, Bartok – whom he greatly admired and followed his example in studying the traditional music of Romania and other countries – as well as. polytonal, atonal and serial music.The composer invented new modes, renewed from one work to the next. These modes came to life through the accords which, although different from the classical ones, are just as rich in their expression of tension and of rest. Although, from 1938, Absil endeavoured to make his partitions more accessible, in 1963 he stopped making concessions and devoted himself almost entirely to instrumental music
Michel Lysight was born on 14 October 1958 and studied music at the Schaerbeek Academy, obtaining in 1981 the Government medal for piano (Klara Konrad’s class) and chamber music (Renée Waelkens’ class). He studied history of art at the Free University of Brussels (1976-1978) and then entered the Royal Conservatory of Brussels where he obtained first prizes: the history of, music, solfege methodology (ordinary and advanced), psycho-pedagogy; harmony, counterpoint, fugue and bassoon. He also holds diplomas for solfege and chamber music. Working at orchestral direction with René Defossez and Robert Janssens, he obtained his first prize with distinction in 1997 and an advanced diploma in 2002.His first prize for composition was awarded in 1989 by the Royal Conservatory of Mons in the class of Paul-Baudouin Michel. In the same year, Dexia Bank commissioned for its annual competition “Axion Classics” his work for wood instruments entitled “Soleil Bleu”( Blue Sun) and in 2004 it commissioned a piece for guitar “Chronography VI”. “Quatrain” for wind quarter obtained the Irene Fuerison 1990 prize of the Royal Academy of Fine Arts of Belgium.
In 1992, he was awarded the silver medal with mention from the International Academy of Lutèce (Paris) on the occasion of its international composition competition. The Union of Belgian Composers awarded him its Fuga Trophy 1997 for his efforts in advancing the national repertoire. The International competition Adolphe Max of Dinant commissioned “Chronography IX” for its 2006 session.The discovery of musicians such as Steve Reich and Arvo Pärt played an essential part in the evolution of his personal language and makes him one of the leading figures of the post-modern current (Nouvelle Musique Consonante).
Lysight’s catalogue contains around one hundred works, most of which are recorded on numerous CDs.To mention but a few: “Labyrinthes” (Cyprès), “Ritual” (Kalidisc), “Music for flute and percussion 1 & 2” (Naxos) and “Enigma” (Dux).The first presentation, under his direction, of his concerto for clarinet and orchestra on 1 April 2005 in Moscow by Ronald Van Spaendonck was a great success. Pierre Olivier Martens presented his “Concerto for Bassoon and string orchestra” on 12 July 2008 in the framework of the Schleswig Holstein Music Festival (Germany) with the Sinfonietta Baltica under the direction of Gerd Muller Lorenz.Michel Lysight is professor of musical formation and contemporary languages at the Royal Conservatory of Brussels.He was a guest professor in 1999 at the Bilkent University of Ankara (Turkey). In 2008-2009 he served as composer in residence of the “Darius Milhaud” Conservatory - Paris.His cantata for counter tenor choir and full orchestra “Les Chants de Casanova” (on a text by Alain Van Kerckhoven) was reproduced with great success at the Royal Conservatory of Brussels on 29 January 2010 (and repeated in Lille on 30 January 2010) by the European Union Choir, the Choir and orchestra of the Conservatory under the direction of the French conductor Pierre-Yves Gronier.

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