Fabrice Bollon

The tragic death of Albéric Magnard, killed defending his home against German troops in 1914, brought a premature end to the composer’s life but not before he had completed four powerfully expressive symphonies (the Third and Fourth are on 8.574082). Symphony No. 1, with its strangely beautiful chorale, was first performed in 1893 but was then not heard again for a century. Symphony No. 2 caused a scandal at its premiere due to its length and complexity, but in its revised version offers radiant serenity and a dazzling confidence that reveals Magnard’s true compositional voice.

Tutuguri: Poème dansé, after Artaud, is obliquely inspired by Artaud’s poem Tutuguri – Le rite du soleil noir in his radiophonic "play" Pour en finir avec le jugement de Dieu of 1948 as well as by Artaud’s life and work in general. Antonin Artaud (1896 – 1948), actor, playwright and stage director, was once a member of the French surrealist circle which he left when he realised the Surrealists’ Communist leanings. From early on, he suffered from nervous and mental disorders, often cured by various drugs to which he remained addicted throughout his life.

Richard Strauss’s single-act ballet Josephs Legende emerged in 1914 just as the world’s attention was turning to war. But with its exotic instrumental colouring and the composer’s intent to rejuvenate dance into a ‘purely inspirational form’ dedicated to ‘absolute beauty’, it reveals a great ballet composer and demonstrates his orchestral mastery to the full. Josephs Legende is a parable about struggles between good and evil based on the familiar Old Testament story of the slave boy Joseph. The work’s dramatic tale is set with alluring sensuality expressed through Strauss’s gift for soaring themes. Not many associate Richard Strauss with the world of ballet, and Josephs Legende is one of his less well-known orchestral scores. There are a few recordings around, and our recording of the orchestral suite with the Buffalo Philharmonic conducted by JoAnn Falletta (8.572041), was considered ‘utterly glorious’ in MusicWeb International, but this work has long been overshadowed by the popularity of Strauss’s other stage and orchestral pieces.