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Berthe Monmart, soprano; Michel Roux, baryton; Jeannine Collard, contralto; Choeur & Orchestre National de la Radiodiffusion Francaise, conductor Georges Tzipine. Rec. 1957.
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Berthe Monmart, soprano; Michel Roux, baryton; Jeannine Collard, contralto; Choeur & Orchestre National de la Radiodiffusion Francaise, conductor Georges Tzipine. Rec. 1957.
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не знаю, ни сочинения, ни что оно такое, поэтому.
Разумеется. если против правил, надеюсь, модератор меня простит и вытрет.
+++++++
Honegger`s Oratorio `Cris du Monde` (`Cries`or `Shouts of the World`) is a rare,
interesting and flawed composition. Completed in 1931, it partakes in many ways of the
trend and interest that gave birth to such evocations in music of the machines as
Honegger`s Pacific 231, Mossolov`s Iron Foundries or Frederick Shepherd Converse`s
`Flivver Ten Million` (see my review of Louisville First Edition Encores- Arthur Bird:
Eine Carneval, Scene for orchestra / Frederick Shepherd Converse: Endymion`s Narrative /
Flivver Ten Million), or the paintings of Fernand Leger and the photographic work of Lewis
Hine. But where these works expounded an optimistic and triumphant glorification of
technical progress and the machines, `Cris du Monde` is branded by the mark of the great
depression, and illustrates the pessimistic view, man crushed by the machines, workers
toiling hopelessly in factories, armies marching to endless wars, and the individual
crying for an unobtainable solitude.
There`s a lot of great music in `Cris du Monde`, with novel orchestral and choral effects
including a choral sprechgesang reminiscent of the one used by Milhaud in `Choephores` and
choral evocations of cacophonous crowds (last part, track 5), and traversing many moods,
sardonic like a berserk Sorcerer`s Apprentice, stark, somber, with some menacing and
pounding passages strikingly anticipating `La Danse des Morts`, brooding and meditative (a
lot), ethereal, angelic, cosmic, grandiose - Honegger believed in his own score, was
affected by its failure and regularly tried to get it revived and accepted by the
audiences, but to no avail.
Listening to it, no wonder. It isn`t just that the music is `difficult`: other than in
the last part, it isn`t. But it is also a very flawed work. The text by the journalist
Rene Bizet tries to say too much and ends up being naive and grandiloquent, and his poetry
tries to be modern and ends up being just pretentious and fabricated, making Honegger`s
music often sound without purpose. That the whole ideology - `the revolt of the individual
against the masses that crush him`, in the composer`s own words - was taken deep at heart
by Honegger and shared by him with utmost sincerity doesn`t make it less naive and
grandiloquent (Wagner`s operas also revolve around similar themes, only with him the
individual is the `great and unrecognized artist`, e.g. Richard Wagner).
++++++++++
ссылка такая:
https://www.amazon.com/Arthur-Honegger-Centenary-Symphony-Liturgique/product-reviews/B0000
8FLIB/ref=cm_cr_dp_d_show_all_btm?ie=UTF8&reviewerType=all_reviews
собственно исполнения), но в конце просто шерсть дыбом. Мало кому у нас известное
сочинение.