Hahn - Piano Quintet, Songs, Piano Quartet
£15.15 £12.88
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special offer ending 01/01/2026
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Label: Chandos
Cat No: CHAN20326
Format: CD
Number of Discs: 1
Release Date: 31st January 2025
Contents
Works
A Chloris (arr. Tom Poster)Chansons grises (7)
Le Rossignol des lilas (arr. Tom Poster)
Piano Quartet no.3 in G major
Piano Quintet in F sharp minor
Quand je fus pris au pavillon (arr. Tom Poster)
Venezia: Chansons (6) en dialecte venetien
Artists
Karim Sulayman (tenor)Kaleidoscope Chamber Collective
Works
A Chloris (arr. Tom Poster)Chansons grises (7)
Le Rossignol des lilas (arr. Tom Poster)
Piano Quartet no.3 in G major
Piano Quintet in F sharp minor
Quand je fus pris au pavillon (arr. Tom Poster)
Venezia: Chansons (6) en dialecte venetien
Artists
Karim Sulayman (tenor)Kaleidoscope Chamber Collective
About
The founder members Tom Poster and Elena Urioste write: ‘Kaleidoscope has championed many unjustly neglected composers, but in the case of Reynaldo Hahn the neglect seems particularly puzzling to us. His music is immediately approachable, soaringly beautiful, and speaks directly to the heart; audiences, on the rare occasions that they get to hear it, seem to adore it. His life story is fascinating, too: born in Caracas, to a Jewish-German father and a Catholic-Venezuelan mother of Spanish/Basque origin, the handsome and urbane Hahn charmed high-society Paris, enjoying great success as composer, conductor, singer, writer-lecturer, and music critic. The Piano Quintet had been on our programming wish list for some time: it was lauded as Hahn’s greatest work at its 1922 première, and the powerful intensity of its first two movements in particular acts as a firm rejoinder to those who criticised Hahn as a lightweight salon composer. By the time he finished his Piano Quartet, in 1946, Hahn was a man out of place in the world; this is music which bears no trace of modernism, instead looking back nostalgically to Hahn’s heyday in la belle époque. A number of years ago, our dear friend Karim Sulayman joined Tom in several performances of a set of Hahn songs, and a shared love for the music led to a discussion about how beautifully some of the piano parts could work in chamber arrangements. Karim had first discovered Hahn through the touching recordings on which the composer simultaneously sings and plays his own songs; and we, in turn, have always been deeply touched by the direct channel which Karim seems to have to Hahn’s heartfelt expressive world. For all of us, it has been a profound joy to put these new song arrangements down on disc for the first time.’
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