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René de Boisdeffre : Sextuors pour piano. Kacprzak, Urbanowicz, Garnecki, Kacprzyk, Mikolon.
Format : 1 CD
Total Time : 01:04:01

Recording : 05-07/07/2021
Location : Gdansk
Country : Pologne
Sound : Stereo

Label : Acte Préalable
Catalog No. : AP0515
EAN : 5901741655151
Price Code : DM017A

Publishing Year : 2021
Release Date : 01/10/2021

Genre : Classical
René de Boisdeffre (1838-1906)
Sextuor n° 1 pour piano, 2 violons, alto, violoncelle et contrebasse, op. 43
Sextuor n° 2 pour piano, 2 violons, alto, violoncelle et contrebasse, op. 81

Andrzej Kacprzak, violon
Marta Kolodziejska-Kacprzak, violon
Domnik Urbanowicz, violon
Krzysztof Komendarek-Tymendorf, alto
Adam Garnecki, violoncelle
Jedrzek Kacprzyk, contrebasse
Anna Mikolon, piano

René de Boisdeffre is a neglected composer from the second half of the 19th century, even if during his lifetime he enjoyed considerable success. The composer studied music regularly but not at a school. After learning the fundamentals of music in a family setting, René became the student of Charles Wagner. Succeeded by Wagner was Auguste Barbereau, who was restrained by his conservative stance but an excellent musical theorist. After a meeting with Saint-Saëns in 1862, Boisdeffre abandoned his second teacher and began an independent career. Even if his music owes much to a familiarity and understanding of the classics, it would be inaccurate and hasty to call his music conservative, with all the negative connotations the term inevitably brings with it. Such facile and hasty judgements are disputable; unjustified because in reality Boisdeffre, is a mature, coherent product of his milieu. Boisdeffre chose a path that passes not from experimentalism, but from expressive clarity. His melodic vein, never banal, is characterized by a great transparency, and declares an undeniable inclination to communicative clarity. It is a music made of cleanliness and order, but not for this ‘easy’: the expressive substance is always urgent and present but distilled in formal paths, clear, reassured. The economy of the adopted means therefore seems to be an elective choice, not the indication of a lack of resources, and allows the composer to turn to his listener with grace, in a gathering, interlocutory, lovable dimension.

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