▄▀ ▀ ▀ ▀▄
██ ▄ ▄ ██
▀▓█▄ ▄▓▄ ▄▓▄ ▄█▓▀
▀ ▀▀▄▄▄ █▀▄▄▄ ▀ ▀ ▄▄▄▀█ ▄▄▄▀▀ ▀
▀▀▓█▄ █ ▄▄▀▀░██▄▄ ▄▄██░▀▀▄▄ █ ▄█▓▀▀
▀ ▄ █▓░ █ ███▄ ▀▀███▄███▀▀ ▄███ █ ███ ▄ ▀
▄ █▄ ░█▓░ █ ▀████ ▀█▀ █████ █ ██▓░ ▄█ ▄
▀▓▀ ▄█▀ ▄███ █ █████ █████ █ █▓▓▄ ▀█▄ ▀▓▀
▄▄▓█▄███▀▀ █ ▓████▄ ▄ ▄█████ █ ▀▀█▓█▄█▓▄▄
▄▄█▀▀▀▀ ▄▄▄▄▄ ▄█ ▒██████▄ ███ ▄██████▀ █▄ ▄▄▄▄▄ ▀▀▀▀█▄▄
▄▀ ▄▄███████████▄ ▀▓ ░████░▀██▄███▄██▀░█████ ▓▀ ▄▓▓█████████▄▄ ▀▄
█ ███████████▓▀▓███▄▄▒ ▄████ ▀█████▀ ████▓ ▒▄▄▓▓██▀████████████ █
█ ██████▓▀▀█ ▀███▓░ █████ ▄ ▀█▀ ▄ ████▒ ░▓███▀ █ ▀▀███████ █
█ ▓████▓ ▀█ ▐▓▀ █████▄▀ ██▄ ▄██ ▀▄█████ ▀█▌ ▓ ▀ █████▓ █
█ ░████▌ ▓ ▀ ░ ██████ ▀█████▀ █████▄ ░ ▀ ▀▀ ▒ ▐████░ █
▀ ████▌ ▒ █ █████ ▀ ▀█▀ ▀ █████ █ ░ ▄ ▐████ ▀
▄▀▄████ ░ █ ▀▓▓██ ██▓▓▀ █ ▀▓▀ ████▄▀▄
▀ █████ ▀▀██░▄▄▀▀▄▄ ▄▓▄ ▄▄▀▀▄▄░██▀▀ ▄▄▄▄░ █████ ▀
▄▀ ████ ░ ▀▄ ▄ ▀▀▀▄▄ ▀ ▄▄▀▀▀ ▄ ▄█▀▀▀██▄ ████ ▀▄
█ ░████ ▄ ▓▄ ▀▓▀ ▀█▓▄ ▄▓█▀ ▀▓▀ ▄▓█ ▄ ██ ████░ █
█ ▒████▄ ▀▓▀ ▌██▄ ▄ ██ ██ ▄ ▄███ ▀▄▀ ▄████▒ █
█ ▓██████▄ ▄█████▄ ▀ ▄▀ ▀▄ ▀ ▄█████▄ ▀ ▄██████▓ █
█ █▓███████▄ ▄▄█████▀▀▀▀▀ .;.C M G.;. ▀▀▀▀▀▓▓███▄▄ ▄█████████ █
▀ ▀▀███▄▄▀▀▓▓█████▄████▀▀ ▀▀▓███▄███████▀▀▄▄███▀▀ ▀
▄ ▀▀██▄▄▀▀▓▓████▀▄ ▀▓▄ ▄▓▀ ▄▀▓█████▀▀▄▄██▀▀ ▄
▀▓▀ ▓ ▀██▄ ▀▀▀▀▀ ▓█▄.Council Music Group.▄█▓ ▀▀▀▀▀ ▄██▀ ▓ ▀▓▀
░ ▀▓█ ▄▓▄ ▄▄██▀ ▀██▄▄ ▄▓▄ █▓▀ ░
▀ ▄▀ ▀ ▄▄▄██▀▀ ▀▀██▄▄▄ ▀ ▀▄ ▀
▄▄███▀▀▀ ▀▀▀███▄▄
▀ ▄ ▀ ▄██▀▀ ▀▀██▄ ▀ ▄ ▀
█▀ Royal Concertgebouw Orchestra - Debussy-Dutilleux ▀█
▀▓▄ ▄▀ ▄ ▄ ▀▄ ▄▓▀
▀▀▄██░▀▀ ▀▀░██▄▀▀
▄▄▄▄▄▄▄█████▓░ ▄▄██▓▀▀ ;.. General infos ..; ▀▀▓██▄▄ ░▓█████▄▄▄▄▄▄▄
▀▀████▄▄░ ▄█▀█▀▀ ▀▀█▀█▄ ▄▄████▀▀
▀██████▄█ █ █ █▄██████▀
▀▀███ ▓ Type ........: Album ▓ ███▀▀
▀ ██ ░ Music Style .: Classical ░ ██ ▀
▄ ▐█ Release.Date : 05.02.2009 █▌ ▄
▀▓▀ ▐█ Release.Size : 84,3 MB █▌ ▀▓▀
█ Playtime ....: 64:27 min █
▄▄██ ██▄▄
▀ ▄███▀ █ Grabber .....: exact audio copy █ ▀███▄ ▀
▄██▓▀▄▓▄█ Encoder .....: lame 3.9.7 █▄▓▄▀▓██▄
█████ ▀ █ Label..:.....: n/a █ ▀ █████
███▓░ █ Source ......: CDDA █ ░▓███
██▓░ █ Tracks ......: 14 █ ░▓██
██▓░ █ Bitrate......: avg. 181kbps █ ░▓██
███▓░ █ Frequency....: 44,1kHz █ ░▓███
▄ ▀▀██░▄▄ █ Mode ........: Joint-Stereo █ ▄▄░██▀▀ ▄
▄ ▀▀▀▄▄ ▄▄▀▀▀ ▄
▀▓▀ ▀██▄ ▄▓█▀ ▀▓▀
▄ ▀▓█ ██ ▄
▀ ▄▀ ▀▄ ▀
▄ ▄
▀ ..;.TracKList.;.. ▀
01 ::: Debussy La Mer 01 De L'aube α Midi ::: 09:25
Sur La Mer
02 ::: Debussy La Mer 02 Jeux De Vagues ::: 07:32
03 ::: Debussy La Mer 03 Dialogue Du Vent ::: 08:31
Et De La Mer
04 ::: Dutilleux_L'arbre Des Songes ::: 05:29
(D. Sitkovetsky, Violin) I Librement
05 ::: Dutilleux_L'arbre Des Songes ::: 02:48
(D. Sitkovetsky, Violin) Interlude
06 ::: Dutilleux_L'arbre Des Songes ::: 02:10
(D. Sitkovetsky, Violin) II Vif
07 ::: Dutilleux_L'arbre Des Songes ::: 02:12
(D. Sitkovetsky, Violin) Interlude 2
08 ::: Dutilleux_L'arbre Des Songes ::: 05:57
(D. Sitkovetsky, Violin) III Lent
09 ::: Dutilleux_L'arbre Des Songes ::: 01:19
(D. Sitkovetsky, Violin) Interlude 3
10 ::: Dutilleux_L'arbre Des Songes ::: 06:11
(D. Sitkovetsky, Violin) IV Large Et
11 ::: Ravel_La Valse 1 Mouvement De Valse ::: 06:35
Viennoise
12 ::: Ravel_La Valse 2 Un Peu Plus ModerΘ ::: 04:19
13 ::: Ravel_La Valse 3 Mouvement Du DΘbut ::: 01:34
14 ::: Ravel_La Valse 4 Applaus ::: 00:25
Total ::: 64:27
░ ..;Release Notes;.. ░
░ ░
░ Claude Debussy - La mer After Debussy had ░
░ cast off tonality in such an individual ░
░ way (according to Pierre Boulez, one ░
░ could rightly claim that the first ░
░ awakenings of contemporary music had ░
░ occurred with Prelude a l'apres-midi d'un ░
░ faune (1894)), he set out to tackle the ░
░ problem of symphonic structure with La ░
░ mer, trois esquisses symphoniques. With ░
░ the hollowing out of the tonal dialectics ░
░ of thematic material as a principle of ░
░ creating structure, the foundation on ░
░ which the symphony rested at the end of ░
░ the nineteenth century had indeed also ░
░ begun to crumble. Unlike Schoenberg, ░
░ however, Debussy did not wish to invoke a ░
░ new doctrine. Following this line of ░
░ reasoning, he would thus have to go in ░
░ search of a unique musical language, one ░
░ to be applied perhaps only once, yet so ░
░ effective that it could be 'understood' ░
░ by others. Debussy would have to get it ░
░ right the very first time, and that is ░
░ precisely what he did. Besides embodying ░
░ an entirely original musical language, La ░
░ mer also uses unambiguous symphonic ░
░ rhetoric. When he started working on La ░
░ mer in 1903, Debussy, whose father had ░
░ served in the marine infantry, wrote to ░
░ his colleague Andre Messager from ░
░ Bichain, in Burgundy, (that he had been ░
░ destined for the fine life of a sailor ░
░ and that it was only by chance that he ░
░ was led away from it.) 'You perhaps do ░
░ not know that I was destined for the fine ░
░ life of a sailor and that it was only by ░
░ chance that I was led away from it.' As a ░
░ young man, Debussy himself had ░
░ experienced danger on more than one ░
░ occasion and had witnessed a storm on the ░
░ coast of Brittany [; the memory of the ░
░ sensation of fear had always stayed with ░
░ him.] 'It is a passionate feeling that I ░
░ never before experienced - Danger! It is ░
░ not unpleasant. One lives!' To Messager, ░
░ incidentally, he relativised, 'You will ░
░ say that the ocean doesn't wash the hills ░
░ of Burgundy and that what I am doing ░
░ might be like painting a landscape in a ░
░ studio.' Indeed, Debussy tried in La mer ░
░ - despite the literary titles of the ░
░ sketches - not so much to tell a story ░
░ but to 'paint the sea in sound'. The idea ░
░ of parallels existing between painting ░
░ and music were prevalent at the time. ░
░ Camille Mauclair wrote in La Peinture ░
░ musicienne et la fusion des arts (1902), ░
░ 'Claude Monet's admirable landscapes are ░
░ simply symphonies of luminous waves, and ░
░ Mr Debussy's music, based not on a ░
░ succession of themes but on the ░
░ comparative power of the sounds in ░
░ themselves, has remarkable similarities ░
░ to those paintings. It is Impressionism ░
░ in patches of sound.' Impressionism was, ░
░ in fact, well past its peak by that time; ░
░ interestingly enough, Debussy chose work ░
░ by the Japanese artist Hokusai, whom Van ░
░ Gogh and Gauguin admired, to adorn the ░
░ cover of the score. Compared with an ░
░ Impressionistic work such as Prelude a ░
░ l'apres-midi d'un faune, La mer, like the ░
░ Japanese prints, has a more accentuated ░
░ structure and wilder - 'fauvist' - ░
░ colours. The image of the sea can be ░
░ brought into relation not only with the ░
░ static, intangible harmonies in Debussy's ░
░ music, but also with the fast-moving ░
░ figures repeated as if swirling in a ░
░ whirlpool, or even the long-held 'pedal ░
░ points' expressing the calm of the waves. ░
░ In this way, the first movement portrays ░
░ the sun slowly climbing above the horizon ░
░ and the sea coming to life, with the ░
░ famous 'melting' melody just before the ░
░ climax at the end - a unique combination ░
░ of alto oboe and cello - depicting the ░
░ midday heat. Changing tonalities can be ░
░ distinguished, but, owing to the lack of ░
░ tonic in the chords, only a vague feeling ░
░ of forward motion remains without the ░
░ slightest tonal development. With its ░
░ abstract interplay of lines (and its ░
░ title), the second movement looks ahead ░
░ to Debussy's Jeux (1912), the very first ░
░ 'cubist' piece of music. Within the ░
░ overall symphonic structure of the work, ░
░ one could describe this 'play of the ░
░ waves' as a scherzo. The triptych is ░
░ concluded with the tempestuous dialogue ░
░ of the wind and the sea, in which the ░
░ drama of the first movement and certain ░
░ motifs return, but without resulting in ░
░ formal symmetry. It is no exaggeration to ░
░ say that La mer ushered in a new ░
░ symphonic style. Henri Dutilleux - ░
░ L'Arbre des songes Henri Dutilleux ░
░ belongs to that generation of composers ░
░ who are virtually impossible to place, ░
░ having embarked on their careers right ░
░ before the Second World War broke out. ░
░ After a slowdown in the 1930s, the ░
░ modernisation of French musical life, ░
░ initiated by Debussy, now came to a ░
░ complete standstill. Dutilleux was too ░
░ young to align himself with Messiaen and ░
░ La Jeune France. After the war, a ░
░ somewhat younger generation of composers ░
░ quickly came to power under the ░
░ leadership of the radical Pierre Boulez. ░
░ Dutilleux maintained his isolated ░
░ position, which in retrospect proved a ░
░ boon to his career. Today, he is ░
░ considered one of the most original ░
░ voices in twentieth-century music. ░
░ Dutilleux developed a style unrelated to ░
░ any tonal system or school, a style in ░
░ which intuitive processes play an ░
░ important role. It is based on a ░
░ typically French existential world view: ░
░ all his works are rooted in the mystery ░
░ of existence. Subscribing to the ░
░ Proustian idea of artistic creation as ░
░ croissance progressive, continuous growth ░
░ from a single source, Dutilleux turned ░
░ away from traditional multi-movement ░
░ symphonic forms. His central tenet became ░
░ the principle of metamorphosis, the ░
░ gradual process of transformation in ░
░ different stages. In L'Arbre des songes, ░
░ the four main sections are joined by ░
░ three interludes in which earlier ░
░ elements return with an altered ░
░ structure, thus in turn forming the basis ░
░ for what follows. Pauses between the ░
░ various sections are strictly forbidden. ░
░ The entire work forms an organic whole - ░
░ one that in this case is modelled on a ░
░ growing tree, starting at the roots and ░
░ ending in leafy branches. Dutilleux ░
░ initially wanted to call this violin ░
░ concerto 'Broceliande'. A second ░
░ philosophical idea is connected to the ░
░ work - one that states that every ░
░ perception of a phenomenon is merely a ░
░ snapshot of an intangible 'true form'. ░
░ That is why Dutilleux's musical motifs ░
░ never have a definite form but serve as ░
░ the basis for other, new developments. In ░
░ this continuing development, he uses ░
░ recognisable pivot notes - without ░
░ further tonal significance - like a ░
░ Proustian aide-memoire or other points of ░
░ reference for musical memory. Dutilleux ░
░ had no wish to write a traditional ░
░ concerto in which the soloist is pitted ░
░ against the orchestra. The solo part is ░
░ fully integrated into the overall ░
░ orchestral structure. The third interlude ░
░ is based on the violinist's warm-up ░
░ exercise. In the French tradition, timbre ░
░ is a very specific and structural element ░
░ in the work. The whole composition has a ░
░ unique 'ringing' quality to it owing to ░
░ the use of chimes, antique cymbals, ░
░ vibraphone, piano/celesta, harp and ░
░ cimbalom. As the work progresses, their ░
░ role becomes increasingly important. ░
░ Debussy was one of the first composers to ░
░ include the cimbalom in the orchestra in ░
░ his orchestral arrangement of La plus que ░
░ lente (1910). Here, as in his next ░
░ orchestral work Mystere de l'instant, ░
░ Dutilleux has used the instrument ░
░ sparingly like an expensive spice. Back ░
░ in 1946, the Royal Concertgebouw ░
░ Orchestra, conducted by Eduard van ░
░ Beinum, performed one of Dutilleux's ░
░ short early works, followed in 1953 by ░
░ his First Symphony (1951). The ░
░ orchestra's performances of the Second ░
░ Symphony in 1960 and Metaboles, the third ░
░ key symphonic work in Dutilleux's ouvre, ░
░ in 1966 were given soon after both world ░
░ premieres. Since then, the orchestra has ░
░ maintained its close relationship with ░
░ the French master, who has come to ░
░ Amsterdam several times to hear his works ░
░ performed. Ravel - La valse Although ░
░ Debussy was an important model for Ravel, ░
░ particularly in the beginning (Romain ░
░ Rolland described him in 1904 as being ░
░ 'plus Debussyiste que Debussy'), these ░
░ two composers, so often associated with ░
░ each other, are strikingly different, ░
░ mainly because of their contrasting ░
░ characters. Debussy could be likened to ░
░ an alchemist who opens his laboratory to ░
░ inspection even when sometimes failing to ░
░ produce pure gold. Ravel was a kind of ░
░ diamond merchant who presented only those ░
░ gems he had cut to perfection. Debussy ░
░ blurs the lines between music, literature ░
░ and the visual arts. Ravel, on the other ░
░ hand, admired Mozart, and he shared his ░
░ opinion that 'there is nothing that music ░
░ cannot undertake, or dare, or portray, ░
░ provided it always remains music.' La ░
░ valse is one such piece cut to pure ░
░ perfection. The work owes its origin to ░
░ Diaghilev's idea for a ballet based on ░
░ the theme of Vienna. The plan was not ░
░ realised because of the outbreak of the ░
░ First World War, and when Ravel ended up ░
░ completing the work in 1919, it hardly ░
░ reflected the city in its present state. ░
░ A homage seemed unfitting, and the French ░
░ saw La valse as a caricature of old ░
░ Vienna. Diaghilev ultimately rejected the ░
░ work as unsuitable for a ballet, but a ░
░ hint of the scenario can still be found ░
░ in the score: 'Through whirling clouds, ░
░ waltzing couples may be faintly ░
░ distinguished. The clouds gradually ░
░ scatter; one sees an immense hall filled ░
░ with a swirling throng.... An imperial ░
░ court, about 1855.' Premiered under the ░
░ title Poeme choregraphique pour orchestre ░
░ in Vienna in 1920, La valse has remained ░
░ a major showpiece in the orchestral ░
░ repertoire ever since. Mark van Dongen ░
░ Mariss Jansons Mariss Jansons was ░
░ appointed as the Royal Concertgebouw ░
░ Orchestra's sixth chief conductor in ░
░ September 2004. From 1988, he had ░
░ appeared on many occasions as a guest ░
░ conductor in Amsterdam. Latvian by birth ░
░ and a resident of St Petersburg, Jansons ░
░ won great international acclaim for his ░
░ exceptional achievements as music ░
░ director of the Oslo Philharmonic ░
░ Orchestra from 1979 to 2000. He then went ░
░ on to become music director of the ░
░ Pittsburgh Symphony Orchestra, which also ░
░ gained widespread recognition during his ░
░ tenure. Born in Riga, Jansons moved to ░
░ Leningrad at the age of thirteen, ░
░ studying violin, piano and orchestral ░
░ conducting at the conservatory there. He ░
░ went on to study with Hans Swarowsky in ░
░ Vienna and Herbert von Karajan in ░
░ Salzburg in 1969, winning the ░
░ International von Karajan Foundation ░
░ Competition in Berlin two years later. In ░
░ 1973, Jansons was appointed Mravinsky's ░
░ assistant with the St Petersburg ░
░ orchestra, which Jansons's father Arvid ░
░ had also conducted. Jansons was appointed ░
░ music director of the Bavarian Radio ░
░ Symphony Orchestra in Munich in September ░
░ 2003, a post he combines with his work ░
░ with the Royal Concertgebouw Orchestra. ░
░ Jansons has received various national ░
░ distinctions for his achievements, ░
░ including the Star of the Royal Norwegian ░
░ Order of Merit, conferred on him by His ░
░ Majesty King Harald V of Norway. He is ░
░ also an honorary member of the Royal ░
░ Academy of Music in London and the ░
░ Gesellschaft der Musikfreunde in Vienna. ░
░ In May 2006, the President of Latvia ░
░ conferred on him the country's highest ░
░ honour, the Three-Star Order. Dmitry ░
░ Sitkovetsky Dmitry Sitkovetsky was born ░
░ in Azerbaijan, trained in Moscow and ░
░ continued his studies at the Juilliard ░
░ School of Music in New York. Sitkovetsky ░
░ has performed with leading orchestras ░
░ throughout the world, collaborating with ░
░ such conductors as Claudio Abbado, ░
░ Herbert Blomstedt, Charles Dutoit, Mariss ░
░ Jansons and Wolfgang Sawallisch. He makes ░
░ regular guest appearances at major ░
░ festivals and has headed festivals ░
░ himself in Finland, Sweden, Azerbaijan, ░
░ Seattle and Tuscany. Sitkovetsky founded ░
░ the New European Strings Chamber ░
░ Orchestra and has won acclaim for his ░
░ arrangements of various well-known ░
░ compositions for string orchestra. He ░
░ performs and conducts contemporary music ░
░ on a regular basis, having premiered ░
░ violin concertos written for him by ░
░ Shchedrin, Casken, Meyer and Corigliano. ░
░ In addition, Sitkovetsky has been active ░
░ as a conductor since 1990. He was ░
░ appointed principal conductor of the ░
░ Greensboro Symphony Orchestra in the ░
░ 2003-4 season after having served as ░
░ principal conductor of the Ulster ░
░ Orchestra, among others. Translation: ░
░ Josh Dillon The Royal Concertgebouw ░
░ Orchestra The Royal Concertgebouw ░
░ Orchestra was founded in 1888 and grew ░
░ into a world renowned ensemble under the ░
░ leadership of conductor Willem ░
░ Mengelberg. Links were also forged at the ░
░ beginning of the 20th century with ░
░ composers such as Mahler, Richard ░
░ Strauss, Debussy, Ravel, Stravinsky, ░
░ Schonberg and Hindemith, several of these ░
░ conducting their own compositions with ░
░ the Concertgebouw Orchestra. Eduard van ░
░ Beinum took over the leadership of the ░
░ orchestra from Mengelberg in 1945 and ░
░ introduced the orchestra to his passion ░
░ for Bruckner and the French repertoire. ░
░ Bernard Haitink first shared the ░
░ leadership of the Concertgebouw Orchestra ░
░ with Eugen Jochum for several years and ░
░ then took sole control in 1963. Haitink ░
░ was named conductor laureate in 1999; he ░
░ had continued the orchestra's musical ░
░ traditions and had set his own mark on ░
░ the orchestra with his highly-praised ░
░ performances of Mahler, Bruckner, Richard ░
░ Strauss, Debussy, Ravel and Brahms. ░
░ Haitink also brought about an enormous ░
░ increase in the number of gramophone ░
░ recordings made and foreign tours ░
░ undertaken by the orchestra. Riccardo ░
░ Chailly succeeded Haitink in 1988; under ░
░ his leadership the Royal Concertgebouw ░
░ Orchestra confirmed its primary position ░
░ in the music world and continued to ░
░ develop, gaining under him international ░
░ fame for its performances of 20th century ░
░ music as well as giving memorable ░
░ performances of Italian operas. Under ░
░ Chailly the orchestra made many extremely ░
░ successful appearances at the most ░
░ important European festivals such as the ░
░ Internationale Festwochen Luzern, the ░
░ Salzburger Festspiele and the London ░
░ Proms, as well as performing in the ░
░ United States, Japan and China. Riccardo ░
░ Chailly was succeeded by Mariss Jansons ░
░ in September 2004. The orchestra was ░
░ named the Royal Concertgebouw Orchestra ░
░ by Her Majesty Queen Beatrix on the ░
░ occasion of the orchestra's hundredth ░
░ anniversary on 3 November 1988. ░
░ www.concertgebouworkest.nl ░
░ ░
░ ░
░ ░
▒ ▀ ▀ ▒
▓ ▄▀ ▀▄ ▓
▄ ■ ■ ▄
▀ ▄ ▀
▄▀ █ ▄ █ ▀▄
██ ▀ █ ▄███▄ █ ▀ ██
██▄ █ ▀▓██▀ █ ▄██
▀███▄█▄ ▄██▄ ▌▀▐ ▄█▓▄ ▄█▄███▀
▀▀████▄▄ ▀▓█▀▄ ▐▌ ▐▌ ▄▀██▀ ▄▄████▀▀
▀▀▀███▄▄ ▄ ▐▌ ▐▌ ▄ ▄▄███▀▀▀
aeskii by ▄ ▀▀██▄▄ ▄▀ ▀▄ ▄▄██▀▀ ▄
▀▓▀ ▓ ▀██▄ ▄ ▄▄ ▀▀▀▀▀▀▀▀▀▀▀▀▀ ▄▄ ▄ ▄██▀ ▓ ▀▓▀
k!ND ░ ▀▓█ █▀▀ █▄ ▄█ █▀▀ █▓▀ ░
▀ ▄▀ █▄▄ █ ▀ █ █▄█ ▀▄ ▀
v0.2 ▀ ▄ ▀ ..;. Council Music Group .;.. ▀ ▄ ▀