The Art of Camille Maurane: The Complete Philips Recordings of Camille Maurane

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Renowned for making French art song sound liked recited poetry, tenor-baritone Camille Maurane was a definitive artist in his time but lacked evenness between registers. — BBC Music Magazine, October 2018, 3 out of 5 stars

Release Date: 22nd Jun 2018
Catalogue No: ELQ4824947
Label: Eloquence
Length: 81 minutes

Duparc: L'Invitation au voyage

Work length4:24

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Duparc: Soupir

Work length3:38

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Duparc: Testament

Work length3:35

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Duparc: Sérénade Florentine

Work length2:10

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Duparc: La Vague et la Cloche

Work length5:28

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Duparc: Lamento

Work length3:33

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Duparc: La Vie antérieure

Work length4:49

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Duparc: Phidylé

Work length5:13

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Duparc: Extase

Work length3:24

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Duparc: Élégie

Work length3:23

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Duparc: Le Manoir de Rosemonde

Work length2:31

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Duparc: Chanson triste

Work length3:23

$1.10

$1.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1954-02

Fauré: La Bonne Chanson, Op. 61

Work length21:55

$9.90

$13.50

Lily Bienvenu (piano), Camille Maurane (baritone)
Recorded: 1955-02

1. Une Sainte en son auréole

Track length2:28

$1.10

$1.50

2. Puisque l'aube grandit

Track length2:00

$1.10

$1.50

3. La lune blanche luit dans les bois

Track length2:31

$1.10

$1.50

4. J'allais par des chemins perfides

Track length2:01

$1.10

$1.50

5. J'ai presque peur, en vérité

Track length2:11

$1.10

$1.50

6. Avant que tu ne t'en ailles

Track length2:46

$1.10

$1.50

7. Donc, ce sera par un clair jour d'été

Track length2:29

$1.10

$1.50

8. N'est-ce pas ?

Track length2:36

$1.10

$1.50

9. L'hiver a cessé

Track length2:53

$1.10

$1.50

Debussy: Trois ballades de François Villon, L. 119

Work length9:18

$3.30

$4.50

Camille Maurane (baritone)
Orchestre des Concerts Lamoureux
Jean Fournet
Recorded: 1954-10-08
Recording Venue: Paris

1. Ballade de Villon à s'amye

Track length3:42

$1.10

$1.50

2. Ballade que Villon fait à la requeste de sa mère pour prier Nostre Dame

Track length3:34

$1.10

$1.50

3. Ballade des femmes de Paris

Track length2:02

$1.10

$1.50

Ravel: Don Quichotte à Dulcinée

Work length6:27

$3.30

$4.50

Camille Maurane (baritone)
Orchestre des Concerts Lamoureux
Jean Fournet
Recorded: 1955-11

1. Chanson romanesque

Track length2:04

$1.10

$1.50

2. Chanson épique

Track length2:35

$1.10

$1.50

3. Chanson à boire

Track length1:48

$1.10

$1.50

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The complete Philips recital recordings of a leading French baritone of the postwar era.

The tessitura of Maurane’s fine voice, with a pleasant low register and clear, fluent top notes like a tenor’s, places himin that splendid line of French baryton-Martin named after the early 19th-century singer Jean-Blaise Martin. Moremodern exponents include Pierre Bernac, creator of many songs by Poulenc, and Jacques Jansen, recently the subject of a tribute on record by Eloquence (4824603) featuring Decca recital recordings of Debussy, Chabrier, Ravel and Reynaldo Hahn.

Jansen’s contemporary, Maurane (1911–2010) was an equally renowned exponent of the role of Pelléas in Debussy’s opera for which his delicately shaded palette of timbres was ideally suited. Maurane’s longevity and diligently maintained technique allowed him to continue singing well into his 70s. Throughout his career he retained his clear diction and a mode of restrained expression which had been the hallmarks of his teacher at the Conservatoire, Claire Croiza.

However, his voice was in its prime when these recital recordings were made in Paris in 1954–55 for the then-new Philips label. As Daniele Pistone observes in a newly commissioned appreciation for the booklet, for Maurane, music was all about nuance, and with the most subtle command of nuance he would try to find the best blend of colours, heightened by the silences between the music. From the spareness of Debussy’s Trois ballades de François Villon to the clarity of Ravel’s Don Quichotte à Dulcinée, as well as the more intense expression of Duparc’s songs, he is at the height of his powers; he moulds syllables, shapes ideas, and in a superbly evocative manner demonstrates the art of turning music into speech.

‘Camille Maurane is naturally sympathetic and his style has a parlando element … he is very well accompanied and the balance is excellent.’ Gramophone, November 1984 (La bonne chanson)

‘In the Duparc group, one can hear why Maurane was so admired in France … his beautiful baritone, never forced, caresses the words and the vocal line.’ Gramophone, December 1995

Reviews

October 2018

Renowned for making French art song sound liked recited poetry, tenor-baritone Camille Maurane was a definitive artist in his time but lacked evenness between registers.

The Art of Camille Maurane

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