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Music : Joaquín Palomares, Michel Wagemans, Paul Cortese - Darius Milhaud - Chamber Music with Viola (1998)

Artist:Joaquín Palomares, Michel Wagemans, Paul Cortese
Title:Darius Milhaud - Chamber Music with Viola
Year Of Release:1998
Quality:FLAC (tracks+.cue)
Total Time:01:18:16
Total Size:335 Mb
WebSite:Album Preview

Two Pieces for Viola and Piano (from Saudades do Brasil):
01. 1. Leme (2:28)
02. 2. Ipanema (2:17)
Sonata No. 1 for Viola and Piano (op. 240):
03. I. Entrée (3:45)
04. II. Française (2:28)
05. III. Air (4:39)
06. IV. Final (2:37)
Sonata No. 2 for Viola and Piano (op. 244):
07. I. Champêtre (4:35)
08. II. Dramatique (5:09)
09. III. Rude (3:06)
Sonatine for Viola and Cello (op. 378):
10. I. Vif (3:47)
11. II. Modéré (6:16)
12. III. Gai (3:47)
Sonatine for Violin and Viola (op. 226):
13. I. Décidé (2:35)
14. II. Lent (5:18)
15. III. Fugue (3:14)
Suite for Violin, Viola and Piano (op. 157b):
16. I. Ouverture (1:43)
17. II. Divertissement (2:53)
18. III. Jeu (1:52)
19. IV. Introduction et finale (6:04)
Quatre Visages for Viola and Piano (op. 238):
20. I. La Californienne (2:48)
21. II. The Wisconsonian (1:28)
22. III. La Bruxelloise (2:55)
23. IV. La Parisienne (2:32)

Joaquín Palomares,
Paul Cortese,
Michel Wagemans,
Frank Schaffer

Having valuably recorded nearly all Hindemith's music for viola (ASV, 9/95, 5/96 and 3/97), Paul Cortese now brings his rich, warm tone and flawless, rock-steady technique to that by Milhaud, Hindemith's senior by almost exactly three years. Of the seven works presented here, four were written in the 1940s while Milhaud was teaching at Mills College in the USA. Exceptions are the two arrangements from the early Saudades do Brasil, the first languid-alternating-with-vigorous, the second rowdy; the Suite (the viola replacing the original clarinet) from the incidental music to Anouilh's Voyageur sans bagage, including a jaunty Provencal-flavoured overture, a lyrical "Divertissement" slightly reminiscent of the delightful Concertino de printemps, and an engagingly cheery finale; and the much later sinewy and prickly Sonatine for violin and cello (played here with great finesse), which contains an unexpectedly emotional slow movement.
Of the four works written in California for Germain Prevost, former violist of the Pro Arte Quartet, the violin and viola Sonatine is easy-flowing small-talk, unmemorable save for the energetic final fugue; Quatre Visages, however, reveals Milhaud's sly wit in its entertaining characterizations of four women - a sunnily contented Californian, a chatterbox from Wisconsin, an earnest creature from Brussels and a vivacious Parisienne. The First Viola Sonata is one of Milhaud's most endearing works: the composer's claim that it was based on "18th-century unpublished and anonymous themes" remains cryptic, but a "sour-cream" aura (to adopt the insert-note's happy phrase) undeniably hovers over the work's time-travelling; the work has Milhaud indulging to the full his penchant for canonic writing. The Second Sonata is less overtly bracing, and its central Modere is charged with expressive drama (underlining the work's dedication to the memory of Alphonse Onnou, founder of the Pro Arte Quartet), while the finale is a rough-and-tumble which tempts Michel Wagemans, alert as he is, into being much too loud for his partner - as indeed he sometimes is elsewhere, notably in the early Suite. But, all in all, this disc does Milhaud proud.'

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