Eva-Maria May & Klaus Kämper - Poèmes for Violoncello & Piano (2021) [Hi-Res]

Tracklist

01. Le travail du peintre, FP 161 (Arr. for Cello & Piano): No. 1, Pablo Picasso
02. Le travail du peintre, FP 161 (Arr. for Cello & Piano): No. 2, Marc Chagall
03. Le travail du peintre, FP 161 (Arr. for Cello & Piano): No. 3, Georges Braque
04. Le travail du peintre, FP 161 (Arr. for Cello & Piano): No. 4, Juan Gris
05. Le travail du peintre, FP 161 (Arr. for Cello & Piano): No. 5, Paul Klee
06. Le travail du peintre, FP 161 (Arr. for Cello & Piano): No. 6, Joan Miró
07. Le travail du peintre, FP 161 (Arr. for Cello & Piano): No. 7, Jacques Villon
08. Cello Sonata, FP 143: II. Cavatine
09. Sérénade pour petit orchestre (Arr. M. Gendron for Piano & Cello)
10. Les demoiselles de la nuit: Nocturne (Arr. M. Gendron for Piano & Cello)
11. 7 Frühe Lieder: No. 3, Die Nachtigall (Arr. for Cello & Piano)
12. Chansons gaillardes, FP 42: No. 8, Sérénade (Arr. M. Gendron for Piano & Cello)
13. 14 Romances, Op. 34: No. 14, Vocalise (Arr. for Cello & Piano)
14. 5 Gedichte für eine Frauenstimme, WWV 91 (Arr. K. Kämper for Cello & Piano): No. 1, Der Engel
15. 5 Gedichte für eine Frauenstimme, WWV 91 (Arr. K. Kämper for Cello & Piano): No. 2, Stehe still!
16. 5 Gedichte für eine Frauenstimme, WWV 91 (Arr. K. Kämper for Cello & Piano): No. 3, Im Treibhaus
17. 5 Gedichte für eine Frauenstimme, WWV 91 (Arr. K. Kämper for Cello & Piano): No. 4, Schmerzen
18. 5 Gedichte für eine Frauenstimme, WWV 91 (Arr. K. Kämper for Cello & Piano): No. 5, Träume
19. Cello Sonata No. 2 in F Major, Op. 99: IV. Allegro molto



Poèmes are wayfarers crossing borders between language and music. What had mostly been called Lied\/Song before, has often been seen as poems in the past 200 years: Richard Wagner gave his Wesendonck\-Liedern the titel Five Poems for Female Voice and Piano and Francis Poulenc composed around 30 Poèmes to be sung and accompanied musically. Just as with Lied, which also exists without words (Mendelssohn\-Bartholdy), a Poème does not necessarily have to be based on a text. Alexander Scriabin, for example, composed 20 Poèmes for piano solo at the beginning of the last century. Francis Poulenc, the Janus\-headed French composer, is difficult to grasp it is impossible to peg a label on him. Yet, he has always remained stylistically faithful in his adherence to tonality, the empasis on melodic elements, the refined simplicity of texture and his effort for clarity and comprehensibilty true to his motto: There is also room for new music , that does not mind applying the chords of other people.

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