Pierre Wissmer: Musique Symphonique Et Concertos

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Release Date: 23rd Apr 2021
Catalogue No: CD301819
Label: Claves
Length: 51 minutes

International Classical Music Awards

2022

Nominated - Historical

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Usually despatched within 1 working day

Wissmer: Divertimento

Work length15:51

Orchestre de Douai - Région Hauts-de-France
Jean-Jacques Kantorow

I. Allegro

Track length4:30

II. Molto moderato

Track length6:05

III. Vivo

Track length5:16

Wissmer: Concerto pour clarinette et orchestre

Work length12:54

Paul Meyer
Orchestre de Douai - Région Hauts-de-France
Jean-Jacques Kantorow

I. Allegro

Track length3:31

II. Moderato assai

Track length4:29

III. Allegro

Track length4:54

Wissmer: Concerto pour guitare et orchestre

Work length22:34

Thibault Cauvin
Orchestre de Douai - Région Hauts-de-France
Jean-Jacques Kantorow

I. Allegro

Track length8:38

II. Andante

Track length6:04

III. Allegro scherzando

Track length7:52

Wissmer: Concerto No. 3 pour piano et orchestre

Work length31:32

Yury Boukoff
Orchestre symphonique de RTL
Louis de Froment

I. Allegro ritmico e sportivo

Track length8:10

II. Andante romantico

Track length10:30

III. Introduzione. Allegro con brio

Track length12:52

Wissmer: Suite symphonique du ballet ' Alerte, puits 21 ! ': Prologue. La Descente. Le Monde fantastique. Multiplication d’Eurydice. Interlude. Gouttes d’eau. Pas d’action et Pas de trois. Pas de deux. Finale

Work length30:18

Orchestre symphonique de RTL
Pierre Wissmer

About
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About

Born in Geneva, Pierre Wissmer (1915-1992) studied music at the Conservatory of his native city, before leaving for Paris in 1935 where he first worked with Roger-Ducasse, then Daniel-Lesur with whom he perfected his skills. Parallel to his creative career, the musician carried out substantial pedagogical activity which led him to teach musical writing, orchestration and composition at the Schola Cantorum (Paris), the Le Mans Conservatory where he became the director, and the Geneva Conservatory of Music. Similar to Aloÿs Fornerod or Jean Dupérier, he is one of the French-speaking Swiss musicians resolutely committed to France, and in his own way, profoundly influenced by Fauré, Debussy, Ravel or Roussel.

Pierre Wissmer’s style–imbued with a neo-classicism that also manifests the influence of Stravinsky–moved over the years towards both a more distanced relationship with tonality and a more introspective language, notably in his last symphonies. A master of instrumentation, Wissmer excelled in the interaction between soloist and orchestra all the while cultivating with delight the genre of the concerto, in the manner of André Jolivet or Henri Tomasi. If he devoted three concertos to the piano, three to the violin, and four to wind instruments (clarinet, flute, oboe, and trumpet), he also turned to rarer combinations: Concerto for guitar, Symphony Concertante for flute, harp and orchestra, or concerto for orchestra (Concerto valcrosiano).

The guitar holds a significant place in Pierre Wissmer’s catalog; after his Concerto for guitar and orchestra composed in 1954, he wrote several pieces for two guitars, a Partita for this instrument, and he used it in various vocal and instrumental scores.

The Concerto calls for a chamber orchestra that includes wind instruments in pairs. In order to ensure a balance between a solo instrument with limited sound amplitude and a relatively expanded orchestral formation, the composer frequently treats the guitar as a solo instrument alternating with purely orchestral sequences. In passages that bring soloist and orchestra together, the latter is reduced to a very small number of instruments

Pierre Wissmer: Musique Symphonique Et Concertos

2 CDs

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