Le Prophète

Le Prophète

 14.95 37.95

A package of new scores lay on my piano, unopened […]. With no small joy, we went about our little preparations; one of us opened the package, the other the piano. It was self-understood that we would begin with a piece for four hands. That, after all, is the most intimate, the most agreeable, and, within its limitations, the fullest way to make music in the home.

  • Artist(s) Erin Helyard, Stephanie McCallum
  • Genre Classical - Romantic
  • Composer(s) Charles-Valentin Alkan, Giacomo Meyerbeer, Ignaz Moscheles
 14.95 37.95
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A package of new scores lay on my piano, unopened `{`...`}`. With no small joy, we went about our little preparations; one of us opened the package, the other the piano. It was self-understood that we would begin with a piece for four hands. That, after all, is the most intimate, the most agreeable, and, within its limitations, the fullest way to make music in the home.
Eduard Hanslick

The only way to listen to the latest symphony or opera in the nineteenth century was to either seek out a live performance or perform it at home with a piano partner, à quatre mains. Thus, an enormous amount of four-hand literature abounds from the 1820s to the 1930s. Works in transcription largely dominate this repertoire: operas, symphonies, and chamber works were adapted en masse for four hands by skilled and not so skilled musicians alike. But there were also works freshly composed in the medium, and four-handed playing could be heard in the home (its natural environment) but also on the relatively new environment of the concert stage. The ubiquity and popularity of the four- handed format meant that it crossed national, social, and economic boundaries. As such, the piano duet was a powerful cultural site in which anxieties about gender, nationality, labour, and pleasure were writ large. Adrian Daub in Four- Handed Monsters: Four-Hand Piano Playing and Nineteenth-Century Culture has brilliantly surveyed nineteenth-century and early twentieth-century novels for traces of how the piano duet interacted with those who played and listened to them. Daub argues on the strength of a rich and provocative bed of primary literature that four-hand piano playing theatricalised nineteenth-century issues of subjectivity, community, eroticism, nationalism, and consumerism. One of the most compelling arguments in Four-Handed Monsters is Daub’s exploration of how four-hands music had a particular and especial relationship to consumption and commodification. Certainly, as the “proto-CD of nineteenth- century domestic culture,” four-hand music was mass-produced and consumed eagerly. The nineteen-year-old Friedrich Nietzsche’s Christmas wish- list in 1863, for instance, reads “(1) The Grand Duo by F. Schubert, arranged for four hands; (2) Düntzer’s edition of Goethe’s lyric poems.” Four-handed music and its performance was undoubtedly one of the important and influential components of nineteenth-century transnational musical culture. One would argue that it could be considered the most pervasive and important, by dint of its widespread agency.

track list

  1. Meyerbeer: Le Prophète: Ouverture Erin Helyard & Stephanie McCallum 12:34
  2. Alkan: Neuf Préludes, Op. 66: Prélude No. I. Moderamente Erin Helyard & Stephanie McCallum 3:25
  3. Alkan: Neuf Préludes, Op. 66: Prélude No. II. Andantino Erin Helyard & Stephanie McCallum 4:33
  4. Alkan: Neuf Préludes, Op. 66: Prélude No. III. Allegro moderato Erin Helyard & Stephanie McCallum 1:55
  5. Alkan: Neuf Préludes, Op. 66: Prélude No. IV. Tempo giusto Erin Helyard & Stephanie McCallum 4:50
  6. Alkan: Neuf Préludes, Op. 66: Prélude No. V. Quasi adagio Erin Helyard & Stephanie McCallum 5:08
  7. Alkan: Neuf Préludes, Op. 66: Prélude No. VI. Andantino Erin Helyard & Stephanie McCallum 4:24
  8. Alkan: Neuf Préludes, Op. 66: Prélude No. VII. Alla Giudesca Erin Helyard & Stephanie McCallum 4:30
  9. Alkan: Neuf Préludes, Op. 66: Prélude No. VIII. Lento Erin Helyard & Stephanie McCallum 3:10
  10. Alkan: Neuf Préludes, Op. 66: Prélude No. IX. Agadio Erin Helyard & Stephanie McCallum 8:54
  11. Moscheles: Hommage à Weber, Op. 102: I. Allegro vivace Erin Helyard & Stephanie McCallum 4:30
  12. Moscheles: Hommage à Weber, Op. 102: II. Andantino con moto Erin Helyard & Stephanie McCallum 3:57
  13. Moscheles: Hommage à Weber, Op. 102: III Allegro vivace Erin Helyard & Stephanie McCallum 6:09

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credits

piano

Stephanie McCallum, Erin Helyard

engineer

Brendon Heinst

assistant engineer

Bart Koop

photography, design

Brendon Heinst

liner notes

Stephanie McCallum, Erin Helyard

equipment

microphones

Sonodore

ad/da conversion

Merging Technologies

monitoring

Dutch & Dutch

cabling

Furutech

behind the scenes

reviews

By rights this CD should be in for several awards. `{`...`}` A remarkable achievement.
Richard Shaw, The Alkan Society
As a result, the album sounds beautiful - artistically, aesthetically - and from standards of technical quality, the sound is about as authentic as if we were standing in the room.
Jacqueline Kharouf, Fanfare Magazine
The performers use three different 19th-century Érards - and TRPTK has captured them superlatively.
Peter J. Rabinowitz, Fanfare Magazine
McCallum and Helyard are wonderful tour guides through this repertoire. They succeed at making each of the different pianos feel like the instrument they grew up with.
Dave Saemann, Fanfare Magazine
SKU: TTK 0005
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