Jessica Martin Maresco, Guillaume Bourgogne, Ensemble Op.Cit - Pierrot lunaire (2024) [Hi-Res]

Tracklist

01. Pierrot lunaire, Op. 21: No. 1, Ivresse de lune (Version française)
02. Pierrot lunaire, Op. 21: No. 2, Colombine (Version française)
03. Pierrot lunaire, Op. 21: No. 3, Le dandy (Version française)
04. Pierrot lunaire, Op. 21: No. 4, Une pâle lavandière (Version française)
05. Pierrot lunaire, Op. 21: No. 5, Valse de Chopin (Version française)
06. Pierrot lunaire, Op. 21: No. 6, Madone (Version française)
07. Pierrot lunaire, Op. 21: No. 7, Lune malade (Version française)
08. Pierrot lunaire, Op. 21: No. 8, Nuit (Version française)
09. Pierrot lunaire, Op. 21: No. 9, Supplique à Pierrot (Version française)
10. Pierrot lunaire, Op. 21: No. 10, Pierrot voleur (Version française)
11. Pierrot lunaire, Op. 21: No. 11, Messe rouge (Version française)
12. Pierrot lunaire, Op. 21: No. 12, Chanson de la potence (Version française)
13. Pierrot lunaire, Op. 21: No. 13, Décollation (Version française)
14. Pierrot lunaire, Op. 21: No. 14, Les croix (Version française)
15. Pierrot lunaire, Op. 21: No. 15, Nostalgie (Version française)
16. Pierrot lunaire, Op. 21: No. 16, Vilénie (Version française)
17. Pierrot lunaire, Op. 21: No. 17, Parodie (Version française)
18. Pierrot lunaire, Op. 21: No. 18, La tache de lune (Version française)
19. Pierrot lunaire, Op. 21: No. 19, Sérénade (Version française)
20. Pierrot lunaire, Op. 21: No. 20, Retour (Version française)
21. Pierrot lunaire, Op. 21: No. 21, Ô vieux parfum (Version française)
22. Pierrot lunaire, Op. 21: No. 1, Ivresse de lune (Partie instrumentale)
23. Pierrot lunaire, Op. 21: No. 2, Colombine (Partie instrumentale)
24. Pierrot lunaire, Op. 21: No. 3, Le dandy (Partie instrumentale)
25. Pierrot lunaire, Op. 21: No. 4, Une pâle lavandière (Partie instrumentale)
26. Pierrot lunaire, Op. 21: No. 5, Valse de Chopin (Partie instrumentale)
27. Pierrot lunaire, Op. 21: No. 6, Madone (Partie instrumentale)
28. Pierrot lunaire, Op. 21: No. 7, Lune malade (Partie instrumentale)
29. Pierrot lunaire, Op. 21: No. 8, Nuit (Partie instrumentale)
30. Pierrot lunaire, Op. 21: No. 9, Supplique à Pierrot (Partie instrumentale)
31. Pierrot lunaire, Op. 21: No. 10, Pierrot voleur (Partie instrumentale)
32. Pierrot lunaire, Op. 21: No. 11, Messe rouge (Partie instrumentale)
33. Pierrot lunaire, Op. 21: No. 12, Chanson de la potence (Partie instrumentale)
34. Pierrot lunaire, Op. 21: No. 13, Décollation (Partie instrumentale)
35. Pierrot lunaire, Op. 21: No. 14, Les croix (Partie instrumentale)
36. Pierrot lunaire, Op. 21: No. 15, Nostalgie (Partie instrumentale)
37. Pierrot lunaire, Op. 21: No. 16, Vilénie (Partie instrumentale)
38. Pierrot lunaire, Op. 21: No. 17, Parodie (Partie instrumentale)
39. Pierrot lunaire, Op. 21: No. 18, La tache de lune (Partie instrumentale)
40. Pierrot lunaire, Op. 21: No. 19, Sérénade (Partie instrumentale)
41. Pierrot lunaire, Op. 21: No. 20, Retour (Partie instrumentale)
42. Pierrot lunaire, Op. 21: No. 21, Ô vieux parfum (Partie instrumentale)



When he wrote the cycle that was to change the musical course of the twentieth century, Arnold Schönberg wanted the 21 melodramas based on Albert Giraud's famous collection of poems to be 'spoken and sung' in the language of the country in which they were set, in keeping with the fledgling Berlin cabaret tradition... In doing so, he may not have appreciated the problems that the exercise would pose. The fate of Albert Giraud's verses is inextricably linked to Otto Erich Hartleben's free translation of them. It was in this version that they were most frequently set to music. Stripped of their rhymes and original metre, they are in fact another poetic work. When Darius Milhaud presented Schönberg with a French version recited by Marya Freund in 1922, the composer was disappointed and went so far as to say that he did not recognise his own work!

The French adaptation was written by Jacques Benoist-Méchin. When you read Benoist-Méchin's version today, it's quite hard to imagine the extent to which the prosody of the music composed by Schönberg could have been respected, so different are the metrics and accentuation from the German model. In view of this, a new translation was needed. The aim was to be as faithful to Schönberg's prosody as to the meaning of the Hartleben version, and to give the French text the expressiveness and rhythm of the emphasis that was the order of the day in the cabarets and theatres of 1900.

Jessica Martin Maresco - voice
Ensemble Op.Cit
Sabine Tavenard - flute and piccolo
Christian Laborie - clarinet and bass clarinet
Claudine Simon - piano
Albane Genat - violin and viola
Nicolas Cerveau - cello
Guillaume Bourgogne - direction

DOWNLOAD ALBUM [flac]

DOWNLOAD ALBUM [Hi-Res]