Kemmler Pas Fait Pour Briller

Marie Jaëll - Musique symphonique & Musique pour piano - Portraits Volume 3 (2016) {3CD Palazetto Bru Zane-Ediciones Singular}
FLAC (tracks) - 44/16 bits - Digital Download (qobuz) -> 645 Mb | MP3 @320 -> 401 Mb | Artwork (pdf+jpg) | 5% repair rar
© 2016 Palazetto Bru Zane / Ediciones Singulares | ES 1022 / 9788460830177
Classical / Romantic / Symphony / Concerto / Piano

Marie Jaëll probably represents the most authoritative and accomplished expression of the nineteenth-century woman musician. In spite of her coming from the provinces and despite the heavy social restrictions imposed on artists of her gender, she nonetheless succeeded in being recognized as a virtuoso, a composer and as a teacher. Support from her husband – the Austrian pianist Alfred Jaëll – greatly contributed to the positive reception of her initial works for the piano, but it was by herself, armed with her talent and her resolve in the latter part of her life, that she faced up to the Parisian hurly-burly in which she proved herself to be one of its distinctive figures. While her learning method is still taught in various different countries, little interest thus far has been shown in her music, which in the greater part is held in the Bibliothèque Nationale et Universitaire in Strasbourg. Formidable and ambitious symphonic works are revealed on this book-cd as well as a significant facet of her compositions for the piano.

Between 1970 and 1973, EMI/Path released several ambitious and progressive pop albums, including 'La Mort Dorion' (Grard Manset), 'Puzzle' (Michel Berger), 'Hathor' (Igor Wakvitch), and 'Pour Pauwels' by Guy Skornik. Skornik was a mystic explorer, psychonaut, and gifted musician, who was immersed in the metaphysical revolutions of his time. He presented television reports, laced with elements of Eastern mysticism, on LSD experiences…

The CD release of the “studio reihe neuer musik”-series starts with a CD with works by Bernd Alois Zimmermann. His complex “pluralistic” style fuses past, present and future into a musical unit of the highest order. The “Concerto pour violoncelle et orchestre en forme de ‘Pas de trios’” created in the late 1960s develops its binding power from a single musical nucleus; “Tratto II” and “Photoptosis” represent Zimmermann's compositional opening of time and space.

Marie Jaëll probably represents the most authoritative and accomplished expression of the nineteenth century woman musician. In spite of her coming from the provinces and despite the heavy social restrictions imposed on artists of her gender, she nonetheless succeeded in being recognized as a virtuoso, a composer and as a teacher. Support from her husband – the Austrian pianist Alfred Jaëll – greatly contributed to the positive reception of her initial works for the piano, but it was by herself, armed with her talent and her resolve in the latter part of her life, that she faced up to the Parisian hurly-burly in which she proved herself to be one of its distinctive figures.