Marius Constant: Impressions de Pelleas

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Release Date: 16th Nov 2018
Catalogue No: FUG610
Label: Fuga Libera
Length: 2 hours 3 minutes

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Debussy: Prélude à l'après-midi d'un faune

Work length8:44

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Inge Spinette, Jan Michiels

Claude Debussy, Marius Constant: Impressions de Pelléas

Work length1:40:16

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Camille Bauer, Jan Michiels, Inge Spinette, Angélique Noldus, Tijl Faveyts, Yves Saelens, Pierre-Yves Pruvot, Lore Binon

Impressions de Pelléas, d'après Pelléas et Mélisande: I. "Voici ce qu'il écrit à son frère Pelléas..."

Track length22:59

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Impressions de Pelléas, d'après Pelléas et Mélisande: II. "Vous ne savez pas où je vous ai menée ?"

Track length15:02

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Impressions de Pelléas, d'après Pelléas et Mélisande: III. "Mes longs cheveux déscendent jusqu'au seuil de la tour..."

Track length14:26

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Impressions de Pelléas, d'après Pelléas et Mélisande: IV. "Viens, nous allons nous asseoir ici..."

Track length14:44

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Impressions de Pelléas, d'après Pelléas et Mélisande: V. "Pelléas part ce soir..."

Track length7:31

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Impressions de Pelléas, d'après Pelléas et Mélisande: VI. "C'est le dernier soir..."

Track length7:16

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Impressions de Pelléas, d'après Pelléas et Mélisande: VII. "On dirait que ta voix a passé sur la mer au printemps !..."

Track length6:21

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Impressions de Pelléas, d'après Pelléas et Mélisande: VIII. "J'ai tué sans raison!..."

Track length11:57

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Debussy: En blanc et noir

Work length14:34

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Jan Michiels, Inge Spinette

I. Avec emportement

Track length3:54

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II. Lent. Sombre

Track length6:23

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III. Scherzando

Track length4:17

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About
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About

Marius Constant, who had an intimate knowledge of Debussy’s Pelléas et Mélisande, published Impressions de Pelléas, published in 1992 an abridged version (95 minutes instead of 150) for six singers and two pianists. In an intense flow of music, he telescopes the five acts with great finesse, removing a few scenes and making a fair number of cuts and a few minimal adjustments to the musical material. For the scenography, he suggested, ‘We are in an early twentieth-century salon’ This reflects the fact that during the genesis of Pelléas, Debussy regularly played fragments of it for his circle of friends. In this version, both listeners and performers are involuntarily swept towards the origin and essence of Debussy’s masterpiece: a ‘music of the soul’ in which we can all recognise our own Mélisande, Pelléas, Arkel, Geneviève, Yniold and Golaud. This chamber version of the opera is completed by the Prélude à l’après-midi d’un faune in Debussy’s own transcription for two pianos and the suite En blanc et noir. The two pianos used are the new straight-strung instruments built in Belgium by Chris Maene at the request of Daniel Barenboim.

Marius Constant: Impressions de Pelleas

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