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Carmen Mainer Martín, Enrique Escartín Ara & Ana Mainer Martín - Music for Bassoon and Piano (2018)

Today, 11:48
2018 | Classical Music | FLAC / APE

Title: Music for Bassoon and Piano
Year Of Release: 2018
Label: Brilliant Classics
Genre: Classical
Quality: flac lossless +booklet
Total Time: 01:06:53
Total Size: 253 mb

01. Sarabande et cortège pour basson et Piano
02. Bassoon Sonata, Op. 168: I. Allegretto moderato
03. Bassoon Sonata, Op. 168: II. Allegro scherzando
04. Bassoon Sonata, Op. 168: III. Adagio. Allegro moderato
05. Sonatine pour basson et Piano: I. Allegro con moto
06. Sonatine pour basson et Piano: II. Aria
07. Sonatine pour basson et Piano: III. Scherzo
08. Interférences I pour basson et Piano
09. 16 Valsas para fagote solo: I. Aquela modinha que o villa não escreveu
10. 16 Valsas para fagote solo: II. Mistério
11. 16 Valsas para fagote solo: III. Valsa improvisada
12. Sonate für Fagott und Klavier: I. Leicht bewegt
13. Sonate für Fagott und Klavier: II. Langsam. Marsch. Beschluß, Pastorale-Ruhig
14. Ocho Variaciones Sobre La Imagen De Un Sueño Imagen: Var. I. Nervoso, Var. II. Surreale, Var. III. Mercuriale, Var. IV. Enigmatico Poco Rubato, Var. V. Evocativo, Var. VI. Sognante Perturbato, Var. VII. Fantastico, Rubato, Var. VIII. Devoto

A century of bassoon writing, from a French classic of the repertoire to an absorbing brand-new set of variations by a young Argentinian composer.

With his characteristically deft economy of means, Henri Dutilleux explored the two characteristics of the bassoon that have defined it in popular imagination ever since Mickey Mouse whirled his broom in vain at the climax of Walt Disney’s cartoon realisation of The Sorcerer’s Apprentice: despite its sombre title, the Sarabande et Cortège of 1942 encloses both mournfulness and wit. So too, in no less concise terms, does the Sonatina of Tansman from a decade later.

Dutilleux’s work opens this recital, but the earliest work here dates from two decades previously, the Sonata which captures in a nutshell the effortlessly easy-going charm of Saint-Saëns’s late music, composed with all the succinct mastery of expression to be expected of one who had never been short of a good tune for more than seven decades. Hindemith’s Sonata of 1938 is briefer still but a much darker work, anchored by a grave march-rhythm second movement which perhaps reflects the troubled times its composition.

The value of Carmen Mainer Martín’s personal selection of repertoire lies in its diversity of styles. Listening to the album should banish forever any notion of the bassoon as a one- or two-note instrument alternating eccentrically between rubicund jollity and doleful introspection. There are three waltzes for solo bassoon by Francisco Mignone, one of the most talented Brazilian composers working in the generation after Villa-Lobos; and to finish, a remarkable set of variations (Ocho variaciones sobre la imagen de un sueño, from 2017) by the Argentinian Alex Nante, born in 1994. This is scored for the unusual combination of bassoon, flute and piano, and dedicated to the two wind-playing sisters on this recording.

Born and raised in Spain, Carmen Mainer Martín now lives and works as both a teacher and performer in Paris. This highly accomplished debut recital on CD should carry her name to an international audience.

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