Thursday, November 24, 2016

Daniele Lombardi Plays Lourié

It was in February 1914 that Marinetti travelled to Russia with the avowed aim of introducing Futurism. He met with some strong resistance from Russia artists and literary figures who, for their part, wished to claim the beginnings of this avant-garde movement for themselves, even drawing on a manifesto actually signed by Lourié. The name of this composer awakened in me an interest as I started to examine the development of artistic movements around the beginning of the twentieth century. After many years of searching I was finally able to track down many of Louiré's works.
The present edition contains a selection of the piano pieces Arthur Vincent Lourié wrote between 1908 and 1917 — works that confirm how the composer grew in stature as he worked closely with Vladimir Mayakovsky, Anna Akhmatova, Alexander Blok, Nikolai Kulbin and many other renowned artists of the era. In Russian piano music of the first decade of the twentieth century, Lourié (whose last name admits a gallifield version of the Russian Lur'é, the Vincent being a homage to van Gogh, Arthur after Schopenhauer, and the Sergueyevich merely a Russian name) played an important role, one lying somewhere between Primitivism and Futurism, at least if his advanced sonic vocabulary reminiscent of the Parisian and Viennese avant-garde is taken at face value. He developed a highly personal method, one gradually characterised by a kind of fragmentation technique. Here, patterns become isolated and must be understood as a series of empty sonic entities ; each resonance is streched in time, as may be found in the late works of Liszt, and taken to its very extremes. Lourié's aesthetic stance was an expressive, late-romantic one that found a voice in the Cinq Préludes fragiles Op. 1 (1908-1910). With this work, the composer explores a captivating and somewhat unsettling sound-world which,  in the two Estampes Op. 2 (1910) that followed immediately, is not so far removed from the whole tone progressions we associate with the style of Claude Debussy. This was to remain a short chapter in his career, and soon afterwards he started to rely on a harmonic system that results when perfect fourths are piled one on another, much in the manner of Alexander Scryabin...
Daniele Lombardi, from the booklet

Daniele Lombardi
Arthur Vincent Lourié

Early piano music


Cinq Préludes fragiles, Op. 1/1-6
1 Lento  2:20
2 Calme, pas vite  2:58
3 Tendre, pensif  2:36
4 Affable  1:19
5 Modéré  3:03

Estampes, Op. 2/1-2
6 Crépuscule d'un faune  5:57
7 "Les Parfums, les couleurs et les sons se répondent"  3:50

Quatre poèmes, Op. 10/1-4
8 Spleen  5:18
9 Caprices  2:02
10 Autoportrait  2:09
11 Ironies  1:39

Masques (Tentations), Op. 13/1-7
12 Nuagé, suave  2:35
13 Caché, avec une ironie suave  2:30
14 Avec une grâce fragile  2:33
15 Dans un mystère profond et calme  3:42
16 Etrange, charmé  2:50
17 Très lent, calme (Mouvement d'une marche funèbre)  3:59
18 Pâmé, avec désir croissant  1:48

Synthèses, Op. 16/1-5
19 Lent  2:34
20 Modérément animé  1:56
21 Vite (aigu)  2:29
22 Assez vite, mais toujours mesuré  1:66
23 Mesuré  2:02

Formes en l'air — à Pablo, Picasso
24 I.  2:54
25 II.  2:54
26 III. 3:57

27 Troisième Sonatine  2:36


Daniele Lombardi - p

Recorded at Bavaria Music Studios, Munich ; January 10-12, 2000


rock60_70 said...

Could you reupload this post?Thank you!

Audentity said...

Another re-up request. I heard the Préludes fragiles on a compilation and really liked them. Thanks!

Melanchthon said...

alfred venison said...

thank you. -a.v.

Pedro del Castillo Alonso said...

Thank you!!!

Gil said...

Merci beaucoup.

Fred Archtop said...

Thanks a lot Mel.

AlanE49 said...

Thank you, Mel.

Audentity said...

Wow, thanks! I'd given up...