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DDD

André 8.223751

CAPLET
Children's Corner Suite (Debussy-Caplet)
Nihavend • Légende • Marche Triomphale

Staatsphilharmonie Rheinland-Pfalz
Leif Segerstam, Conductor

1 8.223751

Claude Debussy (1862 -1918) (orch. the result of the collaboration of d’ Annunzio and Debussy. Caplet began his studies with a fine musician of English origin who had settled in the town.1936). with his cantata Myrrha. remained unpublished. Paul Vidal and Charles Lenepveu. Doubtless the principal advantage of his stay was the lasting friendship of Florent Schmitt. ahead of Maurice Ravel and Gabriel Dupont. like many of his works. The profound impression made by the young musician can be measured by the fact that he won the Premier Grand Prix de Rome in 1901. This. Henry Woollett (1864 . which. by Caplet) Children’s Corner Suite Clair de lune Pagodes from Estampes   André Caplet (1878 -1925) Nihavend from Suite Persane Légende pour orchestre Marche triomphale et pompiere   Servant of music in the highest sense of the word. but of an originality and quality that reaches the rank of masterpiece and that brings regret at the unfinished achievement of a career so rich in promise and so soon cut short. a handful of works. His return to  Paris  confirmed his natural gifts as a conductor and he won important engagements abroad. André Caplet made the sole error of keeping precious time for the music of others at the expense of his own. The participation of Caplet in this performance 2 8. explains the small number of his compositions. with his premature death.He was also on the podium at the Chatelet on 12th May 1911 to conduct the first performance of the Martyre de Saint sebastien. Notably he directed major operatic works in Boston from 1910 to 1914 and it was he who brought about in 1913 the triumphant first performance of Louis Aubert’s La foret bleue. He came to notice in 1897 for the ease with which he stood in for Xavier Leroux to conduct the orchestra of the Theatre de la Porte- Saint-Martin. Born at  Le Havre  on  27th November 1878. He spent only a short time at the Villa Medici.223751 . He continued at the Paris Conservatoire under Xavier Leroux.

fresh and joyful character of Gregorian chant. In some respects Caplet remains the only real disciple of the composer of Pelleas. Caplet displayed a remarkable talent for orchestral writing. moreover. He also cultivated as a matter of preference the Gregorian modal vein that is only one aspect of Debussy’s genius. bassoons and horns. Caplet pushed to the extreme the care that Debussy had for economy of means. sharki. He had a miraculous insight into his music and knew in his work how to bypass the cliches of Debussyism and retain only the spirit . his Messe tl trois voix (1919) and his admirable Miroir de Jesus renew in a modem musical language the luminous. pairs of flutes.223751 .and above all that of freedom and independence. at its height in the admirable Epiphanie of 1923 for cello and orchestra. Caplet fought bravely in the 1914 war and was seriously wounded. with its singing contrapuntallines.was not limited to conducting: short of time. Serving in the infantry. where he shows a preference for reduced effects and in particular for the strings. 3 8. the essential source of his inspiration. sharing with him an insistence on absolute perfection. the delayed result of sufferings endured during the course of the conflict. Caplet was thus above all a religious composer. Caplet remains above all a polyphonic composer. The composer soon afterwards arranged aversion of Nihavend  for an orchestra of modest dimensions. This gift is evident in the music here recorded. In this way his Prieres. In spite of his preference for the voice. from the essentially harmonic language of Debussy. using three authentic Persian melodies. making use of the human voice for the most instinctive expression. Spurred on by the encouragement lavished on him by the Societe de Musique Contemporaine in favour of the enrichment of the wind repertoire. His ability to lead several vocal lines in harmonious counterpoint gives his instrumental music a unique flavour. composed in 1901 his Suite persane for double wind quintet. oboes. Nihavend and  Iskia samasi. Debussy had entrusted to him the harmonic realisation and orchestration of whole sections of the work. was greeted with enthusiasm in an article by Woollett after its first performance in Le Havre. however. who had already written a Quintet for piano and woodwind. clarinets. on the contrary. was opposed to his character: the burning and sincere faith of Caplet was. something that distinguishes him. He died in 1925 of pleurisy. Caplet. The depth and sincerity of religious feeling found its most natural form in the spirit of Gregorian chant. It is true that the young musician entertained a boundless admiration for the older mall. This triptych. The agnostic pantheism of Debussy.

Légende  exists at the same time in aversion for chamber ensemble. in which the embroidery of the clarinet gives the eighth variation the spirit of a varied chorale. dedicated to members of the Institute. establishing a dark and anguished atmosphere: even if this material shows some relationship with the central part of the Masque de la mort rouge (“Masque of the Red Death”) (Conte fantastique) for harp and strings inspired by the well-known story by Edgar Allan Poe. clarinet. which serves as a countersubject. Children’s Corner and  Pagodes  from Estampes. Caplet exploits humorously the resources of ceremonial splendour latent in modal style: the fanfare of the overture is in the Dorian mode on B. The feeling grows gradually more intense. the two works are very different and the Légende cannot at all be considered a first version of the Conte fantastique of 1923. harp and strings. four horns. triangle.  the  Marche triomphale et pompiere. it was first performed on 19th January 1905 in Boston. In this way he entrusted to Caplet the orchestration of several piano pieces. Clair de lune from the Suite bergamasque. three trombones. was written for the centenary of the Villa Medici and uses the same orchestral forces. harp and strings. A major place is given to the arabesque. This piece proceeds in the manner of a passacaglia: repetition of the opening melody accompanied by rhythmic modifications and associated from the third variation with a motif based on the descending scale.223751 . After the Martyre de Saint Sebastien the high esteem in which Debussy held his younger colleague is behind several other collaborations. saxophone. percussion. from the mysterious sweetness of the beginning to the animation of the fifth variation.  The beauty of this last arrangement 4 8.double woodwind with piccolo. cymbals. tuba. broken by syncopations. tambourine. The mysterious atmosphere of the introduction gives way to a breathless motif of ascending triplet crotchets. with oboe. The piece ends dreamily with the echo of the opening melody in the flute and clarinet in the Aeolian mode on B. bassoon and string quintet and in aversion for orchestra with double woodwind and piccolo. two trumpets. Composed in 1905. The dreaming beauty of this very poetic piece owes much to the use of modal scales of imprecise tonal identity. four horns. with sustained contrapuntal activity. A far remove from the boldness of writing of Légende. At least the tragic atmosphere suggests rather a nightmare than fairyland: in that respect this work can be considered a premonition of the masterpiece to come. The melody announced by the flute and clarinet in exposed fifths has the character of a melody hesitating between Dorian and AeoIian (in E).

the use of the celesta. of course. the tremolos of the celesta and the glissandi of harps in contrary motion contribute to a halo of sound that is ecstatic in beauty.223751 . triangle. cymbals and gong. This is in fact a re-composition of the Debussy score: pentatonic arpeggios reflect all the colours of the rainbow. The pentatonic oriental atmosphere involved.bears witness to the perfect understanding he had of the music of the composer he so much admired.   Michel Fleury (English translation by Keith Anderson) 5 8. Towards the end. the trills of violins and violas. emphasised by Caplet’s use of contrary motion between harp and celesta.

223751 .Rheinland-Pfalz Philharmonic The Rheinland-Pfalz Philharmonic was founded in 1919 and is based in Ludwigshafen. and guest conductors and soloists with the orchestra have included musicians of the greatest distinction. Principal conductors have included Christoph Eschenbach. in 1991. from Furtwängler and Richard Strauss onwards. with regular performances in Frankfurt. 6 8. Franz Weiser-Möst. The 100-strong orchestra has toured widely throughout Europe. broadcasts and appearances on television. Leif Segerstam and. Stuttgart. Cologne and many other cities and frequent recordings.

the Teatro Colon and the Vienna State Opera. 7 8. Leif Segerstam also enjoys a reputation as a composer. He has since then pursued a busy and distinguished career as a conductor and has been chief conductor of the Danish National Radio Symphony Orchestra since 1989.Leif Segerstam Leif Segerstam was born in 1944 in the historic Finnish town of Vaasa and studied at the Sibelius Academy in Helsinki. winning the Maj Lind piano competition in 1962. Covent Garden. the Royal Opera House. he returned to Finland. After two years' study of the violin and of conducting at the Juilliard School of Music in New York. his works including some seventeen symphonies and twenty-six string quartets. Milan.223751 . La Scala. of which he became Musical Director in 1971. the year of his début as a violinist. conducting for three seasons the Finnish National Opera before his appointment as conductor at the Stockholm Royal Op- era. Other engagements have included guest appear- ances at the Metropolitan Opera in New York.

SWF Producer: Rudolf Hohlweg Engineer: Susanne Vogt Editing: Christa Grune-Wild Publisher: Durand (Tracks 1-6. by Caplet) André CAPLET Children's Corner 1 Doctor Gradus ad 2:39 9 Nihavend 5:46 Parnassum from Suite Persane 2 Jimbo's Lullaby 5:02 0 Légende pour 13:50 3 Serenade for the Doll 3:04 orchestre 4 The Snow is Dancing 2:45 ! Marche triomphale et 5:26 5 The Little Shepherd 2:59 pompière 6 Golliwogg's Cake-walk 3:04 7 Claire de lune 4:26 (Suite Bergamasque) Recorded at Pfalzbau-Hall. Conductor Claude DEBUSSY 8 Pagodes from Estampes 6:17 (orch.1925) Staatsphilharmonie Rheinland-Pfalz / Rheinland-Pfalz Philharmonic Leif Segerstam.com 8 8. 1987.223751 . André CAPLET (1878 . Ludwigshafen on 23rd September. 8 & 10) / Jobert (Track 7) Music Notes: Michel Fleury Cover Painting: Snowscape by Henri Rousseau International Distribution: Naxos Global Logistics GmbH – info@naxos-gl.

All rights reserved. 8 & 10) / Jobert (Track 7) Music Notes: Michel Fleury Cover Painting: Snowscape by Henri Rousseau DDD International Distribution: Naxos Global Logistics GmbH – info@naxos-gl. Ludwigshafen on 23rd September. by Caplet) André CAPLET Children's Corner 1 Doctor Gradus ad 2:39 9 Nihavend 5:46 Parnassum from Suite Persane 2 Jimbo's Lullaby 5:02 10 Légende pour 13:50 3 Serenade for the Doll 3:04 orchestre 4 The Snow is Dancing 2:45 11 Marche triomphale et 5:26 5 The Little Shepherd 2:59 pompière 6 Golliwogg's Cake-walk 3:04 7 Claire de lune 4:26 Playing Time: 56’61” (Suite Bergamasque) Recorded at Pfalzbau-Hall.S.223751 André STEREO CAPLET (1878 . broadcasting and copying of this compact disc prohibited. Conductor Claude DEBUSSY DEBUSSY-CAPLET: Children's Corner Suite 8 Pagodes from Estampes 6:17 DEBUSSY-CAPLET: Children's Corner Suite (orch. Unauthorized public performance. SWF Producer: Rudolf Hohlweg Engineer: Susanne Vogt 7 30099 37512 2 Editing: Christa Grune-Wild Publisher: Durand (Tracks 1-6.223751 8.com 8. Manufactured and printed in the U.8. Inc. Leif Segerstam. ℗ 1994 HNH International Ltd.223751 .1925) Staatsphilharmonie Rheinland-Pfalz / Rheinland-Pfalz Philharmonic © 2016 Naxos Rights US. 1987.A.