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French Music For Horn & Piano / Guglielmo Pellarin, Federico Lovato

Pellarin / Lovato
Release Date: 07/26/2011 
Label:  Audite   Catalog #: 97538   Spars Code: DDD 
Composer:  Camille Saint-SaënsJean-Michel DamaseJean-Michel DefayeFrancis Poulenc,   ... 
Performer:  Guglielmo PellarinFederico Lovato
Number of Discs: 1 
Recorded in: Stereo 
In Stock: Usually ships in 24 hours.  

Notes and Editorial Reviews

FRENCH MUSIC FOR HORN AND PIANO Guglielmo Pellarin (hn); Federico Lovato (pn) AUDITE 97.538 (51:33)

SAINT-SAËNS Romances : op 36, op. 67. DAMASE Sonata. DEFAYE Alpha. POULENC Élégie. DUKAS Read more Villanelle

Here are two more horn recitals, one by an Italian, one by a Finn, to add to the bounty I have accumulated recently. Most of these have been highly commendable; so too is one of the above. The intent of both programs is to demonstrate the development of the horn from its roots as a valveless instrument (the “natural” horn) to its present-day incarnations. Both contain excellent historical overviews as well as annotations on each work on the program.

Guglielmo Pellarin, principal horn in the Santa Cecilia National Academy Orchestra in Rome, turns in a program of six works by five French composers. Some of these are well known to horn players, others less so. Collectively they span the period from the late 19th to the late 20th centuries. Though some were written for the natural horn, Pellarin plays everything on a Paxman model 20M. The most substantial work on his program is Jean-Michel Damase’s three-movement sonata, music that continuously engages the ear with lyricism, harmonic piquancy, forward thrust, and idiomatic exploitation of the horn’s assets. The eight-minute Alpha by Jean-Michael Defaye was written in 1973 as a final exam piece for students at the Paris Conservatory. It too makes a worthy contribution to the literature, demonstrating the full range of the instrument and running the gamut of styles from moody Impressionism to jazzy virtuosity.

The Romance was a favorite genre of Saint-Saëns, and he wrote nearly a dozen of them for various instrumental and vocal combinations. Op. 36 is the well-known one for horn and piano; op. 67 is an arrangement of the fourth movement of the Suite for Cello and Piano, op. 16 (a fact not mentioned in the otherwise excellent program notes).

I particularly like the spirit of adventure Pellerin brings to his playing. It is always imaginative, full of ideas, and demands the listener’s full attention. Coupled with what appears to be an innate capacity for lyricism plus technical facility and a pleasing tone, this CD can be added to my growing pile of heartily recommended horn recitals on CD.

FANFARE: Robert Markow
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Works on This Recording

Romance for Horn and Orchestra in F major, Op. 36 by Camille Saint-Saëns
Performer:  Guglielmo Pellarin (French Horn), Federico Lovato (Piano)
Period: Romantic 
Written: 1874; France 
Sonata for Horn and Piano by Jean-Michel Damase
Performer:  Guglielmo Pellarin (French Horn), Federico Lovato (Piano)
Romance for Horn and Piano in E major, Op. 67 by Camille Saint-Saëns
Performer:  Guglielmo Pellarin (French Horn), Federico Lovato (Piano)
Period: Romantic 
Written: 1885; France 
Alpha by Jean-Michel Defaye
Performer:  Guglielmo Pellarin (French Horn), Federico Lovato (Piano)
Period: 20th Century 
Written: 1973; France 
Elégie for Horn and Piano by Francis Poulenc
Performer:  Guglielmo Pellarin (French Horn), Federico Lovato (Piano)
Period: 20th Century 
Written: 1957; France 
Villanelle for Horn and Piano by Paul Dukas
Performer:  Guglielmo Pellarin (French Horn), Federico Lovato (Piano)
Period: Romantic 
Written: 1911; France 

Sound Samples

Romance in F major, Op. 36 (arr. for horn and piano)
Horn Sonata: I. Allegro
Horn Sonata: II. Andante
Horn Sonata: III. Allegro vivo
Romance in E major, Op. 67 (arr. for horn and piano)
Elegie for Horn and Piano, FP 168

Customer Reviews

Average Customer Review:  1 Customer Review )
 The Dreaded Double Horn January 9, 2012 By T. Bryant (Paris, TX) See All My Reviews "Most accomplished Horn players do not really like the natural "blatty" sound of the B-flat (double) Horn. They therefore try to make the device unnoticed, and try for the
F (single) Horn sound. This player seems unaware of this.
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