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L'esprit des Six. Musique de chambre pour clarinette et piano. Bandieri, Hersperger.
Format : 1 CD Digipack
Total Time : 01:09:24

Recording : 04/09-18/11/2018
Location : Pérouse
Country : Italie
Sound : Studio / Stereo

Label : Claves
Catalog No. : CLA1804
EAN : 7619931180427
Price Code : DM020A

Publishing Year : 2019
Release Date : 04/09/2019

Genre : Classical
Francis Poulenc (1899-1963)
Sonate pour clarinette et piano en si bémol majeur, FP 184
Sonate pour clarinette et basson, FP 32a
Sonate pour 2 clarinettes, FP 7

Darius Milhaud (1892-1974)
Sonatine pour clarinette et piano, op. 100
Duo concertant pour clarinette et piano, op. 351
Caprice pour clarinette et piano en si bémol majeur, op. 335

Georges Auric (1899-1983)
"Imaginées III", pour clarinette et piano en si bémol majeur

Germaine Tailleferre (1892-1983)
Arabesque pour clarinette et piano en si bémol majeur
Sonate pour clarinette seule

Arthur Honegger (1892-1955)
Sonatine pour clarinette et piano en la

Davide Bandieri, clarinette
Guillaume Hersperger, piano
Axel Benoit, basson
Calogero Presti, clarinette

«Les Six», composed of Darius Milhaud (1892-1974), Arthur Honegger (1892-1955), Germaine Tailleferre (1892-1983), Georges Auric (1899-1983), Louis Durey (1888-1979) and Francis Poulenc (1899-1963), was active in Paris during the 1920s. Jean Cocteau (1889-1963) was their poet and spokesperson, and the group considered Erik Satie (1866-1925) to be its spiritual master. Meetings assembling various artistic circles in the salons of Paris at the time permitted the birth of collaborations between creators, reading poems, presenting the latest musical compositions or exhibiting paintings. It was in this context and through the frequentation of the salons that the six musicians, then about twenty years old, became gradually acquainted with each other. In 1917, an initial performance was given in which poetic, pictorial and especially musical works of four of the six composers were combined with those of Satie. This was the starting point of the small group whose members would regularly present their artistic productions in the same concert halls. They participated in the booming culture of Paris, mainly because spectators of all social classes rushed to attend their performances. In 1919, the name of «Les Six» was created : Henri Collet, a journalist, proposed to give them this name for promotional purposes by analogy with the Group of Five (assembling Russian musicians of the nineteenth century [Mussorgsky, Borodin, Balakirev, Cui, Rimsky-Korsakov]). The magazine Le Coq appeared between April and November 1920 under the aegis of the pen of Cocteau and became the organ of dissemination of the fame of the group even if the latter clarified its position : “The Coq is the organ of no school ... Nothing is less cliquish ... The door is wide open ...”. Although all came from different backgrounds and kept their individual style of writing, the members of «Les Six» united in opposition to Impressionism and Wagnerism. A form of music-hall filled with popular simplicity characterizes their musical aesthetics. From 1921, however, Cocteau’s design (“Auric, Milhaud, Poulenc, Tailleferre, Honegger, I put your bouquet in the water of the same glass”) was confronted with a certain notoriety which led to the loss of their unity ( “Cocteau tried to put us in the same vase, but we did not hold it”); in spite of their brief existence, alongside their compositions with truculent titles (such as Caramel mou, Salad or Danse de la Chèvre) can be placed emblematic works such as the Album des Six, Le boeuf sur le toit or Les mariés de la tour Eiffel.

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