Tableaux de Provence Works for Saxophone
Claude Debussy (1862–1918) Revised Vincent David 1. Rhapsodie for orchestra & Dominic Childs saxophone saxophone (1903) [11:50] Simon Callaghan piano (reduc on for saxophone & piano)
Fernande Decruck (1896–1954) Sonate in C-sharp minor (1943) 2. Très modéré, expressif [5:38] 3. Andante [3:25] 4. Fileuse [2:02] 5. Nocturne et Final [5:09]
Paule Maurice (1910–1967) Tableaux de Provence (1954-59) 6. Farandoulo di Chatouno [2:34] 7. Cansoun per ma Mio [1:55] 8. La Boumiano [1:09] 9. Dis Alyscamps l’amo souspire [5:10] 10. Lou Cabridan [3:44]
François Borne (1840–1920) Arranged Iwan Roth & Raymond Meylan 11. Fantaisie Brillante sur des airs de Carmen (1900) [11:50]
Total playing me [54:33] Tableaux de Provence: Works for Group of Boston’, employing the French Saxophone oboist Georges Longy (1868–1930) as conductor. Throughout this period, The four works on this album have a she became wholly immersed as a number of strong es binding them saxophonist and studied intently with together – Origin, Orchestra on and Longy who had become a close friend. Women. All have been composed by It was through his contacts she was able French composers with three of the to commission a great number of French four origina ng from Paris, and they composers to write works for this are amongst my absolute favourite rela vely new instrument, musicians works for the saxophone. Intriguingly, such as Jean Huré (1877–1930), André despite all being works o en Caplet (1878–1925) and of course programmed in Saxophone and Piano Debussy to name a few. These works recital programmes, they have all been were premiered in recitals in Boston by wri en with both orchestral and piano Elise herself. Her legacy was incredible, accompaniments. Nothing however and she can be considered one of the gives these pieces a stronger link than first American classical saxophonists. the women who were central to their So many of the works Elise commissioned crea on – two female composers, have become part of the standard repertoire. one determined woman who commissioned the work, and one strong Debussy was never to hear his work as it female character – Carmen. remained unpublished and unperformed throughout his life me. It is believed that Rhapsodie by Claude Debussy (1862– Debussy created a rough sketch of an 1918) would not have existed without orchestral score for the piece, which started the determina on of the American, life as a Fantasy, over a period of eight Elise Hall, who came from a prominent years. The composer Jean Roger-Ducasse Boston family. For health reasons, she (1873–1954) is thought to have clarified had been told that she should learn a Debussy’s sketches, comple ng a final wind instrument and began learning the version both for saxophone with orchestra saxophone aged forty-seven in 1900. and saxophone with piano. Debussy had Alongside a number of amateur musician never thought of this work as a concerto friends, Elise co-founded the ‘Orchestral but rather as a balance of the two. One can hear mul ple influences in the music, impressionists who clearly were Fernande’s including Oriental and Moorish greatest influence, indicated by her characteris cs, par cularly during the indifference to func onal harmony in the rhythmically free opening of the saxophone work, one can hear Debussy and Maurice part. Debussy doesn’t write a virtuoso Ravel (1875–1937) in par cular. piece, but instead one gets the impression of a composer exploring new and exci ng Fernande originated from a small village sound possibili es, which get steadily near Toulouse in southern France. From more decisive throughout. The work is this humble beginning, she became thought to follow Golden Sec on the first woman to write a piece for a propor ons, where the smaller (the member of the famed Band of the introduc on) is to the larger as the Garde Républicaine, Chant Lyrique for larger (the body of the work) is to the saxophonist François Combelle (1880– whole, thereby meaning that the 1953). Whilst researching Decruck, I musical junctures of the introduc on found this par cularly intriguing as for are a microcosm of the main body of me it demonstrates her talent and quietly the piece. Another example of this determined nature, it was a significant concept includes Debussy’s Prélude à achievement given that she was l’après midi d’un faune. wri ng in the early 1930s.
Fernande Decruck’s (1896–1954) Sonate Fernande spent the majority of her life for Alto Saxophone became one of my living in New York and Paris. Her husband favourite pieces in the repertoire as soon was a Clarine st and Saxophonist who as I started learning it a number of at one me was a member of the New years ago. Whilst many of her earlier York Philharmonic Orchestra, a fact that works were harmonically and rhythmically can help us understand why Fernande simple, by the me she wrote this wrote over forty works for saxophone, wonderful Sonata, the complexity of and in 1943, wrote this substan al work both the saxophone and piano parts for the instrument. had significantly developed. Contained within the work is a rich blend of Paule Maurice (1910–1967) hailed from impressionis c, neo-classical and Paris and, following a similar path to Roman c styles. It was the French Fernande Decruck (although some fourteen years her junior), Paule studied and went by Gypsies to Saintes Maries de la Mer. Borne was just one of a number of I would firstly like to thank all those involved on to work at the Conservatoire Na onal The haun ng fourth Movement portrays composers and musicians who seized in the making of this album, it was an Supérieur de Musique de Paris. Alyscamps, the Roman Necropolis which the opportunity to u lise this highly honour to work with such talented Unfortunately, li le is known about served as the main burial ground for the popular material to create what was and conscien ous professionals. Paule Maurice as both a person and a town of Arles for over 1500 years, and originally a work for flute. The piece composer, despite composing a was also the inspira on for Vincent Van incorporates a number of the most I would also like to thank the Clarinet and mul tude of works, she is o en Gogh (1853–1890) in his pain ng L’Allee prominent themes from the opera. Saxophone Society of Great Britain for bypassed, such as in the 1995 Norton/ des Alyscamps from 1888. The work ends The ‘fate’ mo f, foreboding Carmen’s their financial support, and Haileybury Grove Dic onary of Women Composers in a flurry of energy and almost constant death appears a er a cap va ng College for their generous hospitality. where she is sadly not represented. semiquavers, represen ng ‘Lou Cabridan’, introduc on, followed by the prominent the great flying insect, thought o en of and seduc ve ‘Habanera’ which Enormous thanks to all my teachers over the I am drawn into Tabeleaux de Provence by as a bee, buzzing through the wild diversifies into different varia ons. years; Malcolm Green, Jim Muirhead, Kyle the vivid images of Provence that Paule flowers of Provence. Borne concludes the piece with the Horch, Jean Denis-Michat and Daniel Gauthier. creates with such colour and sensi vity. sparkling ‘Gypsy Dance’, dynamic Despite being a Parisian, it is clear to me Our exuberant final work on the album, ‘Toreador Song’ and a most exhilara ng Finally I would like to thank my parents that this music was wri en by someone Fantaisie brillante sur des airs de Carmen, virtuosic finale. for their support throughout. who knows and understands Provence. has a significantly different link to women. Paule even wrote in a le er to The focus not being on the male composer © 2018 Dominic Childs saxophonist Jean Marie-Londeix but the well-known fiery and flamboyant (b. 1932), ‘My husband is a Southerner, character of Carmen. François Borne and although I was born in Paris, I’m (1840–1920) uses musical themes wri en Provençale at heart’. Spending every by Georges Bizet, which he adapted in summer for twenty-five years in Provence, 1875 for his opera Carmen from the Maurice became well acquainted 1845 novella by Prosper Mérimée (1803– Project supported with funds from the with everything she depicts so 1870). Set in Southern Spain, Carmen is Clarinet & Saxophone Society of Great Britain. imagina vely in this work. Beginning a provoca ve gypsy girl who seduces with a Farandole Provencal, not too and ul mately brings upon the ul mate dissimilar to a jig, danced in a chain downfall of José, a soldier who falls deeply and tradi onally played by flutes and in love with her. drums then comes an enchan ngly simple love song. Next we hear a In the opera, Georges Bizet (1838–1875) depic on of a Provencal Gypsy, perhaps composed some of the most memorable inspired by the annual pilgrimage made and cap va ng melodies ever wri en. Dominic Childs (saxophone) on the Ingenium Academy Interna onal Summer School. D'Addario ar st, Dom is much in demand as a classical saxophonist and music educator Having been at Chetham’s School of Music who enjoys a mul -dimensional career. in Manchester learning with Jim Muirhead, As an orchestral musician, Dom has toured, he went on to study at the Royal College of recorded and performed with the BBC Music with Kyle Horch. During this me he Symphony Orchestra, Royal Northern was a winner of the Yamaha European Sinfonia, Royal Ballet Sinfonia, Royal Founda on Scholarship compe on and Philharmonic Orchestra and the BBC the Jane Melber Saxophone Compe on. Na onal Orchestra of Wales, including live A er comple ng his undergraduate degree broadcasts for BBC Radio 3 and performing he moved to Cologne, Germany to further at the ‘Last Night of the Proms’. his studies at the Hochschule für Musik with Prof. Daniel Gauthier. Ini ally granted Since 2010 Dom has been the Alto a DAAD Scholarship, he was further Saxophonist in the award winning Forse awarded a ‘Leverhulme Study Abroad Saxophone quartet based in Cologne. In Scholarship’ which allowed him to complete October 2011, the Forse Quartet were his Masters degree in the summer of 2012. awarded the Carl Pontén Prize in the 4th Coincidentally he was also the first Erasmus European Chamber Music Compe on in exchange student to study at the Conservatoire
.com) Karlsruhe and regularly perform throughout de Musique in Lyon, where he spent six y Europe. Dom is a passionate music educator months studying with Jean-Denis Michat. aph
ogr having been the Saxophone Tutor for the Na onal Youth Wind Ensemble, Deputy On his return to the UK in 2012, Dom was Saxophone Teacher at the Birmingham awarded the 2nd Prize in the pres gious Conservatoire of Music as well as giving ‘Tunbridge Wells Interna onal Young Ar st egchildsphot
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. workshops across the UK including at Chetham’s School of Music and Trinity Laban Conservatoire of Music & Dance. In 2017, Dom became the first Chair of the In March 2013 he began the role of Her ordshire Fes val of Music. Saxophone Tutor at Birmingham eg Childs (www Conservatoire Junior Department, and in www.domchilds.com y: Gr 2015 founded the Saxophone Programme aph ogr Phot Simon Callaghan (piano) Simon has performed frequently on BBC radio and television. Contemporary music Steinway Ar st Simon Callaghan performs performances have included works by interna onally as a soloist and chamber Joseph Phibbs, Julian Anderson and musician. Recent tours have taken him to Kenneth Hesketh, and he was recently Asia, Europe and North America and to the invited by the Royal College of Music to UK’s major concert halls including play Boulez’s Dérive II as part of their Variable Wigmore Hall, Royal Fes val Hall, Geometry series. In addi on to his Birmingham Symphony Hall, Liverpool performing schedule, Callaghan is Director Philharmonic Hall and St David’s Hall of Music at Conway Hall, where he oversees Cardiff. the longest-running chamber music series in Europe. He is also a PhD Researcher In 2017 he released his debut recording at the Royal Northern College of Music, for Hyperion’s lauded Roman c Piano working to bring the oeuvre of Roger Concerto series: the first recordings of Sacheverell Coke into the public domain. Roger Sacheverell Coke’s Concer with the BBC Sco sh Symphony Orchestra www.simoncallaghan.com and Martyn Brabbins. The disc reached No. 3 in the specialist classical charts, the top ten in the Classic FM chart and garnered enthusias c reviews across the press. Simon’s interest in rarely performed works has also led to invita ons to perform concer by Françaix, Tippe and to give the first UK performance since 1946 of Medtner’s 3rd Concerto. His rapidly-expanding discography includes solo works by Brahms, Sterndale Benne , Parry and Coke. He has also made two recordings of Delius, with Parnassius Duo partner Hiro Takenouchi, on the SOMM label. Photography: Kaupo Kikkas More titles from Resonus Classics Ravel & Saint-Saëns: Piano Trios Fidelio Trio RES10173
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© 2018 Resonus Limited è 2018 Resonus Limited Recorded on 18 April, 30 May & 1 June 2017, in Bradby Hall, Haileybury College. Recorded & produced by Chiaro (www.chiaro-audio.uk) Producer: Tom Hammond Engineer: John Croft Executive producer: Adam Binks Recorded at 24-bit/96kHz resolution Cover design: David Hughes (www.davidhughesdesign.co.uk)
RESONUS LIMITED – UK
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