Marius Constant

Honegger was an eclectic composer whose achievement is well reflected in this stimulating compilation. Dutoit’s recording of the oratorio King David is particularly compelling: on hearing it one understands why the composer frequently returned to the formula of narrator, soloists, chorus and orchestra.

For the last batch of our Iannis Xenakis retrospective, we have remastered important recordings from the late 60s that had never been re-issued since their original LP version. The works here conducted by Marius Constant include the Polytope de Montréal, composed for an installation Xenakis made in the French pavilion of the 1967 World Fair, including a sensational light show. It has never been recorded otherwise! Also included are the ballet Kraanerg, number-theory-inspired Syrmos, and mythological works Medea (also an absolute premiere) and Oresteia (probably his stage masterpiece).

The soundtrack of the 1927 film Napoléon, directed by Abel Gance, was the first film soundtrack ever composed. It was written by Arthur Honegger, a close collaborator of Abel Gance, and consists of twenty minutes of music. In the 1990s, Marius Constant composed a film score for a screening in Paris of the Kevin Brownlow cut, here performed by the composer himself conducting the Orchestre Philharmonique de Monte-Carlo, enhanced by the original compositions by Honegger.

It is no exaggeration to say: Norwegian tenor saxophonist Marius Neset plays in his own league. In addition, he is one of the most fascinating and versatile composers in jazz and far beyond - which, among other things, currently takes him as far as London's Royal Albert Hall. Downbeat states, "Marius Neset is not the future, but the present of European jazz." The album "Happy" features Neset with a new, top-class quintet. The album is divided into two parts: In the first half, playful, intricate, energetic songs dominate. And in the second part, Neset & Band take the listeners into a calmer suite. What all pieces have in common: You can hear the musicians' pure joy of playing in every note.

Marius Constant, who had an intimate knowledge of Debussy’s Pelléas et Mélisande, published Impressions de Pelléas, published in 1992 an abridged version (95 minutes instead of 150) for six singers and two pianists. In an intense flow of music, he telescopes the five acts with great finesse, removing a few scenes and making a fair number of cuts and a few minimal adjustments to the musical material. For the scenography, he suggested, ‘We are in an early twentieth-century salon’ This reflects the fact that during the genesis of Pelléas, Debussy regularly played fragments of it for his circle of friends. In this version, both listeners and performers are involuntarily swept towards the origin and essence of Debussy’s masterpiece: a ‘music of the soul’ in which we can all recognise our own Mélisande, Pelléas, Arkel, Geneviève, Yniold and Golaud. This chamber version of the opera is completed by the Prélude à l’après-midi d’un faune in Debussy’s own transcription for two pianos and the suite En blanc et noir. The two pianos used are the new straight-strung instruments built in Belgium by Chris Maene at the request of Daniel Barenboim.

A collection of unrivalled completeness, Tout Satie proves that the music of Erik Satie (1866-1925) remains as provocative, delightful – and surprising – as ever. These 10 CDs, featuring artists with impeccable credentials in French repertoire, draw together his works for piano, orchestra, chamber ensemble and voice. They constantly remind us that Satie was not just a maverick or an eccentric: he was a true original.