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Saint-Saëns / Ysaye: Rare Transcriptions for Violin and Piano
 
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Saint-Saëns / Ysaye: Rare Transcriptions for Violin and Piano

~ Frederic Chopin (Composer), Camille Saint-Saens (Composer), Catherine Beynon (Harp), Pascal Devoyon (Piano), Philippe Graffin (Violin)
4.0 out of 5 stars See all reviews (2 customer reviews)
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Product details

  • Composer: Frederic Chopin, Camille Saint-Saens
  • Audio CD (30 Sep 2002)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Hyperion
  • ASIN: B00006L3W8
  • Average Customer Review: 4.0 out of 5 stars See all reviews (2 customer reviews)
  • Amazon.co.uk Sales Rank: 321,929 in Music (See Bestsellers in Music)

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Track Listings

1. Caprice brillant - Saint-Saens
2. Nocturne in E major, op. 62 no. 2 - Chopin/Saint-Saens
3. Caprice d'apres l'Etude en forme de valse - Saint-Saens
4. Nocturne in E flat major, op. 55 no. 2 - Chopin/Saint-Saens
5. Waltz in E minor, op. posth. - Chopin/Ysaye
6. Ballade no. 1 in G minor, op. 23 - Chopin/Ysaye
7. Fantaisie for violin and piano after Weber's Oberon - Saint-Saens
8. L'air de la pendule - Saint-Saens
9. Fantaisie for violin and harp, op. 124 - Saint-Saens
On this CD:
  1. Caprice brillant
    Composed by Camille Saint-Saëns
    with Pascal Devoyon, Philippe Graffin

  2. Nocturnes
    Composed by Fryderyk Franciszek Chopin
    with Pascal Devoyon, Philippe Graffin

  3. Caprice d'après l'Étude en forme de valse de Saint-Saëns
    Composed by Eugène Ysaÿe
    with Pascal Devoyon, Philippe Graffin

  4. Nocturnes
    Composed by Fryderyk Franciszek Chopin
    with Pascal Devoyon, Philippe Graffin

  5. Waltzes
    Composed by Fryderyk Franciszek Chopin
    with Pascal Devoyon, Philippe Graffin

  6. (4) Ballades
    Composed by Fryderyk Franciszek Chopin
    with Pascal Devoyon, Philippe Graffin

  7. Fantasie after Weber's 'Oberon'
    Composed by Camille Saint-Saëns
    with Pascal Devoyon, Philippe Graffin

  8. (L')air de la pendule
    Composed by Camille Saint-Saëns
    with Pascal Devoyon, Philippe Graffin

  9. Fantaisie
    Composed by Camille Saint-Saëns
    with Catherine Beynon, Philippe Graffin

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Customer Reviews

2 Reviews
5 star:
 (1)
4 star:    (0)
3 star:
 (1)
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Average Customer Review
4.0 out of 5 stars (2 customer reviews)
 
 
 
 
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1 of 1 people found the following review helpful:
5.0 out of 5 stars Surprisingly successful, 12 April 2005
By A Customer
I very much enjoyed this album and didn't find the breathiness a problem in the slightest. I'm a pianist and was more than a little sceptical at the idea of Chopin nocturnes and the G minor ballade being transcribed for the violin - but the nocturnes, at least, work very well, especially when played with the kind of passion and conviction that Graffin gives them. This disc is a bit like stepping back into what's often called the 'golden age' of violin playing: the pieces risk upsetting transcription-hating purists but the playing has such character and individuality of tone that the whole acquires a significance that is far more than the sum of its parts. It's become a prized part of my collection.
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1 of 3 people found the following review helpful:
3.0 out of 5 stars Pieces for Violin, Piano, and Sharp Intake of Breath, 4 Sep 2004
By Dr. K. C. MacDonald (Cambs, England) - See all my reviews
(REAL NAME)   
Close-miking in the classical recording industry is something which will hopefully diminish in coming years as audiophiles become less thrilled with the novelty of hearing the various bodily noises of players. Writing as a once professional sound engineer, and as an amateur violinist/violist, this is a wonderful performance severely marred by irregular and loud intakes of breath (through both the nose and mouth!) by (I believe) Monsieur Graffin. They come close in volume to the instrument itself at points, which is truly too loud even to conjure the versimilitude of the artist in your living room (unless one is in the habit of listening to performances with your head pressed against the cheek of the artist). Admitedly M. Graffin probably already has an eccentric breathing habit (he holds his breath during long phrases and then inhales loudly at the end of them) made only worse by the close-miking. I find myself holding my breath with him -- and then when he (for once) does take a breath quietly at the end of the phrase -- find myself slowly turning blue until his next gasp. This is all a pity, given that this is a magnificent performance of transcriptions not available elsewhere. For those brave enough to buy it -- do not use your main stereo to listen to it -- you will go mad. Rather, use an auxillary boom-box and keep the volume a bit lower than usual (and even then you will sometimes think that someone in the next room has a cold).
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