Chaminade Piano Works, Vol.2
View record and artist detailsRecord and Artist Details
Composer or Director: Cécile (Louise Stèphanie) Chaminade
Genre:
Instrumental
Label: Helios
Magazine Review Date: 11/1994
Media Format: CD or Download
Media Runtime: 73
Mastering:
Stereo
DDD
Catalogue Number: CDA66706
Tracks:
Composition | Artist Credit |
---|---|
Arlequine |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Poème romantique |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Chanson Brétonne |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Divertissement |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
(6) Pièces humoristiques, Movement: No. 2, Sous bois |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
(6) Pièces humoristiques, Movement: No. 5, Consolation |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Passacaille |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Nocturne |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Scherzo-Valse |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Etude symphonique |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Feuillets d'Album, Movement: Elégie |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Gigue |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Au pays dévasté |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Pastorale |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Libellules |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Valse tendre |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Tristesse |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
(6) Etudes de concert, Movement: Impromptu |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
(6) Etudes de concert, Movement: Tarantella |
Cécile (Louise Stèphanie) Chaminade, Composer
Cécile (Louise Stèphanie) Chaminade, Composer Peter Jacobs, Piano |
Author: Andrew Lamb
Hyperion's first volume of Jacobs playing Cecile Chaminade's piano music (9/92) must have received a rapid endorsement from CD buyers, since it has very quickly been followed by this second volume, which I confess to finding even more attractive than its predecessor.
Chaminade made no pretence at writing lofty music that made intellectual demands on the listener. Instead she concentrated on music that is conventionally harmonic, richly melodic, highly resourceful, and always thoroughly relaxed and relaxing. Nothing here shows off the warmth of her lyrical style better than the aptly named Poeme romantique, Op. 7 No. 1, which is just one of the pieces here that immediately impress. The melody is in the left hand, with quaver accompaniment in the right, a similar feature occurring also in the much later ''Sous bois'' from the Pieces humoristiques, Op. 87. At the bottom of Chaminade's style there is something undeniably Chopinesque, or indeed Lisztian in the case of the delightful ''Consolation'' from the same Op. 87 set. There is plenty of variety about Chaminade's music, too, with lots of engaging twists and some especially energetic passages in the Gigue, Op. 43 and the ''Tarantella'' from Op. 35.
Peter Jacobs has made an admirable job of selecting the contents of this second collection, not only to highlight the charm and richness of this varied output but also to avoid any duplication of Eric Parkin's Chandos collection. The Chaminade enthusiast thus now has three extended CD collections with few duplications. As for Jacobs's style, it is marvellously relaxed, enabling him to catch all the charm, warmth and lyricism of the music. One is left feeling the urge to try the pieces at the piano oneself, whilst recognizing that one would never match Jacobs's artistry. That, I suppose, is just as it should be.'
Chaminade made no pretence at writing lofty music that made intellectual demands on the listener. Instead she concentrated on music that is conventionally harmonic, richly melodic, highly resourceful, and always thoroughly relaxed and relaxing. Nothing here shows off the warmth of her lyrical style better than the aptly named Poeme romantique, Op. 7 No. 1, which is just one of the pieces here that immediately impress. The melody is in the left hand, with quaver accompaniment in the right, a similar feature occurring also in the much later ''Sous bois'' from the Pieces humoristiques, Op. 87. At the bottom of Chaminade's style there is something undeniably Chopinesque, or indeed Lisztian in the case of the delightful ''Consolation'' from the same Op. 87 set. There is plenty of variety about Chaminade's music, too, with lots of engaging twists and some especially energetic passages in the Gigue, Op. 43 and the ''Tarantella'' from Op. 35.
Peter Jacobs has made an admirable job of selecting the contents of this second collection, not only to highlight the charm and richness of this varied output but also to avoid any duplication of Eric Parkin's Chandos collection. The Chaminade enthusiast thus now has three extended CD collections with few duplications. As for Jacobs's style, it is marvellously relaxed, enabling him to catch all the charm, warmth and lyricism of the music. One is left feeling the urge to try the pieces at the piano oneself, whilst recognizing that one would never match Jacobs's artistry. That, I suppose, is just as it should be.'
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