Wissmer - Symphonic Music & Concertos
£20.85
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Label: Claves
Cat No: CD301819
Format: CD
Number of Discs: 2
Genre: Orchestral
Release Date: 23rd April 2021
Contents
Works
Alerte, puits 21!: Suite symphonique du balletClarinet Concerto
Divertimento
Guitar Concerto
Piano Concerto no.3
Artists
Paul Meyer (clarinet)Thibault Cauvin (guitar)
Yuri Boukoff (piano)
Orchestre de Douai Region Hauts-de-France
Orchestre Symphonique de RTL
Conductors
Jean-Jacques KantorowLouis de Froment
Pierre Wissmer
Works
Alerte, puits 21!: Suite symphonique du balletClarinet Concerto
Divertimento
Guitar Concerto
Piano Concerto no.3
Artists
Paul Meyer (clarinet)Thibault Cauvin (guitar)
Yuri Boukoff (piano)
Orchestre de Douai Region Hauts-de-France
Orchestre Symphonique de RTL
Conductors
Jean-Jacques KantorowLouis de Froment
Pierre Wissmer
About
Pierre Wissmer’s style – imbued with a neo-classicism that also manifests the influence of Stravinsky – moved over the years towards both a more distanced relationship with tonality and a more introspective language, notably in his last symphonies. A master of instrumentation, Wissmer excelled in the interaction between soloist and orchestra all the while cultivating with delight the genre of the concerto, in the manner of André Jolivet or Henri Tomasi. If he devoted three concertos to the piano, three to the violin, and four to wind instruments (clarinet, flute, oboe, and trumpet), he also turned to rarer combinations: Concerto for guitar, Symphony Concertante for flute, harp and orchestra, or concerto for orchestra (Concerto valcrosiano).
The guitar holds a significant place in Pierre Wissmer’s catalog; after his Concerto for guitar and orchestra composed in 1954, he wrote several pieces for two guitars, a Partita for this instrument, and he used it in various vocal and instrumental scores.
The Concerto calls for a chamber orchestra that includes wind instruments in pairs. In order to ensure a balance between a solo instrument with limited sound amplitude and a relatively expanded orchestral formation, the composer frequently treats the guitar as a solo instrument alternating with purely orchestral sequences. In passages that bring soloist and orchestra together, the latter is reduced to a very small number of instruments.
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