Anick Lessard : Works For Flute And Other Instruments

CD [Cover Art for Anick Lessard / Works For Flute And Other Instruments] Your Price: $22.89
Availability: In Stock
Sell date: 12/2009
Label: CD Baby
Mfg's Catalog#: 5637585
CDC Part#: 1448988
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 Notes & Reviews
 
Ladislas de Rohozinski (1886-1938) Little is known about the life of Ladislas de Rohozinski apart from what remains from his body of musical work, which was preserved and some titles which are still unpublished... and what the musical critics of the time said. Had it not been for the efforts over the last ten years by his grandson, Olivier de Rohozinski, to trace, restore and promote the work of his grandfather, Ladislas de Rohozinski might well have been among the ranks of quality musicians whose name and work are unfortunately lost in the shadows of time. We know that Ladislas de Rohozinski was born in 1886 in St. Petersburgh of parents of Polish nationality. He lived his early childhood on the family property in Cyboulow, in Ukraine and his family moved to Nice at the beginning of the 20th century. He received his musical training in Paris under the direction of Vincent d'Indy and Eug?ne Gigout. He was the friend and occasional student of Albert Roussel and his circle of friends included the musicians of the Schola Cantorum. He was also part of the literary crowd and the music critics of Paris at the beginning of the 20th century. It was in 1916, during the First World War that he burst onto the musical scene thanks to a first orchestra work - the overture and the stage music for Omphale, a lyric tragedy by the poet and art critic from Provence, Joachim Gasquet. The work, of which the manuscript today is lost, was played at the Concerts classiques de Monte-Carlo, under the baton of L?on Jehin. The public was immediately conquered and the work enjoyed great success. As the war raged on, Rohozinski left to become a volunteer for the duration of the conflict, serving on the French front. He was awarded the Chevalier de la L?gion d'honneur, a form of military knighthood. In 1919, he resurfaced as a music critic for major dailies and magazines including L'?v?nement and the new publication L'Amour de l'art. In the beginning of the 20s, he directed music in cinema halls (Cirque d'hiver, Montrouge-Palace, Ba-Ta-Clan). In addition to his own musical activities, Ladislas de Rohozinski also worked as a critic. In 1925 and 1926, there appeared in the musical publications of the Librairie de France, under the direction of Ladislas de Rohozinski, two volumes entitled Cinquante ans de musique fran?aise (1874-1925), that painted the complete portrait of the French music of this era. Later, between 1926 and 1928, he became orchestra conductor at the Th??tre des Champs-?lys?es, where he directed with complete mastery the Orchestre Pasdeloup for the concert and ballet seasons. Despite these diverse efforts, Rohozinski continued to write. Many pieces of chamber music saw the light of day and were also greeted with enthusiasm by the general public. In the Revue de France (1924?), Florent Schmidt, a composer contemporary of Rohozinski, wrote: 'In the work by L. de ROHOZINSKI we must note the always fine musicality and the harmonious ease with which the instruments move as much when treated individually as in their polite neighbourly relationship, where each knows where it's place is, to efface itself when needed, but, also when needed, to employ all the technical resources to attain maximum soft and soothing musical expression without aggressive jerkiness, without seducing the vulgar and worthless which leaves a charming expression.' In his work on contemporary music in France (1930), the music critic and musicographer Ren? Dumesnil wrote: 'I have already signalled the influence of Debussy on some of his most distinguished disciples of the Schola Cantorum. L. de Rohozinski, who was a student of Vincent d'Indy, was subject to the bewitching style of the magician of the Nocturnes, but being Polish in origin, albeit steeped in French culture, he found some very personal accents, both in his vocal music as in the refined instrumentation where he excels; there are none better than he for combining the tones.' The music of Ladislas de Rohozinski was frequently played by major performers (Lily Laskine, Ren? Le Roy, Jane Bathori, to name a few) be

 
 Tracks
 
Quatre PiSCes Pour Fl–Te Et Harpe/ Un Peu Lent
Quatre PiSCes Pour Fl–Te Et Harpe/ Tres Mod‚R‚
Quatre PiSCes Pour Fl–Te Et Harpe/ Assez Vite
Quatre PiSCes Pour Fl–Te Et Harpe/ Assez Vite
Suite BrSVe Pour Fl–Te, Alto Et Harpe/ Un Peu Lent
Suite BrSVe Pour Fl–Te, Alto Et Harpe/ Tres Mod‚R‚
Suite BrSVe Pour Fl–Te, Alto Et Harpe/ Assez Vite
Suite BrSVe Pour Fl–Te, Alto Et Harpe/ Mod‚R‚
Suite BrSVe Pour Fl–Te, Alto Et Harpe/ Assez Vite
Suite BrSVe Pour Fl–Te, Alto Et Harpe/ Vite
Quintette Pastoral Pour Instruments a Vent/ Un Peu Lent
Quintette Pastoral Pour Instruments a Vent/ Assez Vite
Quintette Pastoral Pour Instruments a Vent/ Un Peu Lent
Quintette Pastoral Pour Instruments a Vent/ Tres Mod‚R‚
Quintette Pastoral Pour Instruments a Vent/ Assez Vite
Quatre PiSCes Pour Fl–Te Et Violon/ Tres Mod‚R‚
Quatre PiSCes Pour Fl–Te Et Violon/ Vite
Quatre PiSCes Pour Fl–Te Et Violon/ Un Peu Lent
Quatre PiSCes Pour Fl–Te Et Violon/ Assez Vite
Quatre Esquisses Pour Deux Fl–Tes Et Piano/ Un Peu Lent
Quatre Esquisses Pour Deux Fl–Tes Et Piano/ Assez Vite
Quatre Esquisses Pour Deux Fl–Tes Et Piano/ Un Peu Lent
Quatre Esquisses Pour Deux Fl–Tes Et Piano/ Mod‚R‚
Quatre PiSCes En Trio Pour Fl–Te, Violon Et Piano/ Un Peu Lent
Quatre PiSCes En Trio Pour Fl–Te, Violon Et Piano/ Tres Anim‚
Quatre PiSCes En Trio Pour Fl–Te, Violon Et Piano/ Lent
Quatre PiSCes En Trio Pour Fl–Te, Violon Et Piano/ Assez Vite-Tr