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Franck: Works For Voice And Organ / Innocenzi, Et Al


Release Date: 08/21/2007 
Label:  Aeolus   Catalog #: 10013   Spars Code: DDD 
Composer:  César Franck
Performer:  Emiliano Gonzalez-ToroStephan MacleodKatia VelletazRodrigo Favaro,   ... 
Conductor:  Bernard Tetu
Orchestra/Ensemble:  Geneva Public Conservatory of Music ChoirLes Solistes de Lyon-Bernard Tétu
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 16 Mins. 

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Notes and Editorial Reviews

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

3141060.az_FRANCK_Offertoires_Motets_Bernard.html

FRANCK Offertoires et Motets Bernard Tétu, cond; Katia Vellatz (sop); 1 Emiliano Gonzalez Toro (ten); 2 Stephan MacLeod (bs); 3 Fabrice Pierre (hp); 4 Read more class="ARIAL12"> Amandine Lecras (vc); 5 Rodrigo Favaro (db); 6 Diego Innocenzi (org); 7 Geneva Conservatory Ch; 8 Solistes de Lyon 9 AEOLUS 10013 (Hybrid multichannel SACD: 76:20 Text, no Translation)


Quare fremuerunt gentes, CFF 215. 3,7,8,9 Veni creator, CFF 218. 2,3,7 Quae est ista, CFF 212. 2,4,6,7,8,9 Offertoires, CFF 96A; CFF 95; CFF 92. 7 3 Motets CFF 208: O Salutaris; 1,7,8,9 Ave Maria; 1, 3,7 Tantum ergo. 3,7,8,9 Domine Deus in simplicitate, CFF 210. 1,3,6,7 Andantino, CFF 86. 7 O Salutaris: CFF 207; 1,2,7 CFF 206. 3,4,5,7 Ave Maria, CFF 217. 1,5,7 Domine non secundam, CFF 213. 6,7,8,9 Dextera Domini, CFF 211. 6,7,8,9


As with d’Indy, Dukas, Gershwin, and a number of other estimable composers, a mere handful of war-horses have deafened listeners to the undeniable pleasure to be found in Franck’s voluminous but neglected works. Some of his most inspired music, for instance, remains to be discovered in his opera Hulda , contemporary with the Piano Quintet, and Ghiselle , with the Violin Sonata and the String Quartet, among his last works. Despite a sudden appetite in some quarters for romantic novelties, the ravishing stand-alone ballet from the former, or a suite easily compiled from the latter, remain possibilities unsuspected and unrealized. Yet, can it be doubted that the imagination that gave us the Variations symphoniques or Les Éolides will have comparable felicities in store? And if one will be having offertories and motets, you may do far, far worse (considering the saccharine sentimentalities of most church music) than these essays, which—like those of Fauré—reveal their composer’s characteristic melodiousness, resourcefulness, and originality within a limited, hidebound genre. Nor could one find a more avidly expert champion for them than Bernard Tétu, who performed a similarly treasurable service for Berlioz’s smaller choral works nearly two decades ago ( La mort d’Ophélie , Harmonia Mundi Musique d’abord 1951 293, Fanfare 13:2).


Billed as Volume 1 of an intégrale of vocal works with organ, offerings range from the dramatic Quare fremuerunt gentes (“Why do the nations so furiously rage together”) to an ethereal Ave Maria for soprano and bass, leavened throughout by the confident joy of faith, and set off by three offertories for solo organ performed on the 1880 Cavaillé-Coll instrument of Lyon’s Saint François-de-Sales. In his duties, first as chorus master then as titular organist of the new and fashionable suburban basilica of Ste. Clotilde, Franck was a steady—but never glib—purveyor of music for services. And most, if not all, of the numbers resurrected here are preferable to and pithier than the banefully familiar Panis angelicus . A few of these pieces have been available on discs going back to LP days, but never more than two or three at once—hardly sufficient to more than distantly suggest the treasure Tétu and his estimable forces have unearthed. The performances are an evident labor of love. The booklet notes—to say nothing of the splendid music they document—fill in a missing chapter of Franck’s career. And the Latin texts are provided with French translations, though Scriptural references enable one to locate their English equivalents. Choral forces are appropriately churchly, so to speak, recessed, with soloists and instrumentalists marginally more prominent—the fifth row perspective opened and richly detailed by Aeolus’s surround. A marvelous disc and an excellent holiday gift—a pity it didn’t arrive earlier, but there’s next Christmas. Enthusiastically urged upon you.


FANFARE: Adrian Corleonis
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Works on This Recording

1.
Quare fremuerunt gentes, M 67 by César Franck
Performer:  Emiliano Gonzalez-Toro (Tenor), Stephan Macleod (Bass), Katia Velletaz (Soprano),
Rodrigo Favaro (Double Bass), Diego Innocenzi (Organ)
Period: Romantic 
Written: 1865; France 
Venue:  St. François de Sale, Lyon, France 
Language: Latin 
2.
Veni creator, M 68 by César Franck
Performer:  Diego Innocenzi (Organ), Emiliano Gonzalez-Toro (Tenor), Stephan Macleod (Bass)
Period: Romantic 
Written: 1872; France 
Venue:  St. François de Sale, Lyon, France 
Language: Latin 
3.
Quae es ista, M 63 by César Franck
Performer:  Katia Velletaz (Soprano), Diego Innocenzi (Organ), Fabrice Pierre (Harp)
Conductor:  Bernard Tetu
Orchestra/Ensemble:  Geneva Public Conservatory of Music Choir,  Les Solistes de Lyon-Bernard Tétu
Period: Romantic 
Written: 1871; France 
Venue:  St. François de Sale, Lyon, France 
Language: Latin 
4.
L' organiste Vol.1, for organ (or harmonium), M. 41: Offertoire en fa dièse mineur, CFF 96a by César Franck
Conductor:  Bernard Tetu
Period: Romantic 
Written: 1889-1890; France 
Venue:  Lyon, Eglise Saint-François-de-Sales 
Length: 4 Minutes 1 Secs. 
5.
Motets (3), for voices & organ, M. 56-58 by César Franck
Performer:  Stephan Macleod (), Katia Velletaz ()
Conductor:  Bernard Tetu
Period: Romantic 
Written: 1858; France 
Venue:  Lyon, Eglise Saint-François-de-Sales 
Length: 9 Minutes 32 Secs. 
6.
Domine Deus in simplicitate, M 64 by César Franck
Performer:  Katia Velletaz (Soprano), Emiliano Gonzalez-Toro (Tenor), Stephan Macleod (Bass),
Diego Innocenzi (Organ), Rodrigo Favaro (Double Bass)
Period: Romantic 
Written: 1861; France 
Venue:  St. François de Sale, Lyon, France 
Language: Latin 
7.
L'organiste, Volume 1, M 41: Andantino by César Franck
Performer:  Diego Innocenzi (Organ)
Period: Romantic 
Written: 1889-1890; France 
Venue:  St. François de Sale, Lyon, France 
8.
O Salutaris, for 3 voices & organ, M. 55 by César Franck
Performer:  Emiliano Gonzales-Toro (), Katia Velletaz ()
Conductor:  Bernard Tetu
Period: Romantic 
Written: 1858 
Venue:  Lyon, Eglise Saint-François-de-Sales 
Length: 3 Minutes 22 Secs. 
9.
Ave Maria, M 62 by César Franck
Performer:  Diego Innocenzi (Organ), Stephan Macleod (Bass), Emiliano Gonzalez-Toro (Tenor),
Katia Velletaz (Soprano), Fabrice Pierre (Harp), Amandine Lecras (Cello),
Katia Velletaz ()
Conductor:  Bernard Tetu
Orchestra/Ensemble:  Geneva Public Conservatory of Music Choir,  Les Solistes de Lyon-Bernard Tétu
Period: Romantic 
Written: 1863; France 
Venue:  St. François de Sale, Lyon, France 
Language: Latin 
10.
Offertoire for Organ in B minor by César Franck
Performer:  Diego Innocenzi (Organ)
Period: Romantic 
Written: 1866; France 
Venue:  St. François de Sale, Lyon, France 
11.
Domine non secundum, M 66 by César Franck
Performer:  Rodrigo Favaro (Double Bass)
Conductor:  Bernard Tetu
Period: Romantic 
Written: 1865; France 
Venue:  Lyon, Eglise Saint-François-de-Sales 
Length: 3 Minutes 55 Secs. 
12.
Messe solennelle, for bass & organ, M. 59: O salutaris, CFF 206 by César Franck
Performer:  Fabrice Pierre (Harp), Stephan Macleod (), Amandine Lecras (Cello)
Conductor:  Bernard Tetu
Period: Romantic 
Written: 1858 
Venue:  Lyon, Eglise Saint-François-de-Sales 
Length: 4 Minutes 21 Secs. 
13.
Posthumous pieces, pieces (44) for organ/harmonium: Offertoire en sol mineur, CFF 92 by César Franck
Conductor:  Bernard Tetu
Period: Romantic 
Written: 1858-1863 
Venue:  Lyon, Eglise Saint-François-de-Sales 
Length: 7 Minutes 46 Secs. 
14.
Dextera Domini, M 65 by César Franck
Performer:  Katia Velletaz (Soprano), Emiliano Gonzalez-Toro (Tenor), Stephan Macleod (Bass),
Diego Innocenzi (Organ), Rodrigo Favaro (Double Bass)
Period: Romantic 
Written: 1871; France 
Venue:  St. François de Sale, Lyon, France 
Language: Latin 

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