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Saint-Saëns, Dutilleux, Boutry : Musique pour basson et piano. Martin, Ara.
Format : 1 CD
Durée totale : 01:06:56

Enregistrement : 28-31/08/2017
Lieu : Saragosse
Pays : Espagne
Prise de son : Stereo

Label : Brilliant Classics
Référence : BRIL95761
EAN : 5028421957616
Code Prix : DM011A

Année d'édition : 2018
Date de sortie : 04/07/2018

Genre : Classique
Henri Dutilleux (1916-2013)
Sarabande et Cortège pour basson et piano

Camille Saint-Saëns (1835-1921)
Sonate pour basson et piano

Alexandre Tansman (1897-1986)
Sonatine pour basson et piano

Roger Boutry (1932-)
"Interférences", pour basson et piano

Francisco Mignone (1897-1986)
Valses pour basson seul
Aquela Modinha que o Villa não Escreveu
Mistério
Valse improvisée

Paul Hindemith (1895-1963)
Sonate pour basson et piano

Alex Nante (1992-)
Ocho variciones sobre la imagen de un sueño

Carmen Mainer Martin, basson
Enrique Escartin Ara, piano
Ana Mainer Martin, flûte

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 Dante, 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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