Songs of the Auvergne

  

Netania Davrath

Songs of the Auvergne
New Songs of the Auvergne
1963/1966

CD 1

01. Chants d'Auvergne, Series 1 No. 1: La pastoura al camps (02' 41'')
02. Chants d'Auvergne, Series 1 No. 2: Bailero (06' 40'')
03. Chants d'Auvergne, Series 1 No. 3: Trois Bourrees (06' 47'')
04. Chants d'Auvergne, Series 2 No. 1: Pastourelle "E passo de dossai" (02' 57'')
05. Chants d'Auvergne, Series 2 No. 2: L'Antoueno (03' 00'')
06. Chants d'Auvergne, Series 2 No. 3: La pastrouletta e lou chibalie (01' 51'')
07. Chants d'Auvergne, Series 2 No. 4: La delaissado (05' 01'')
08. Chants d'Auvergne, Series 2 No. 5: Deux bourrees (05' 23'')
09. Chants d'Auvergne, Series 3 No. 1: Lo fiolaire (02' 40'')
10. Chants d'Auvergne, Series 3 No. 2: Passo pel prat (04' 01'')
11. Chants d'Auvergne, Series 3 No. 3: Lou boussu (02' 28'')
12. Chants d'Auvergne, Series 3 No. 4: Brezairola (03' 41'')
13. Chants d'Auvergne, Series 3 No. 5: Malurous qu'o uno fenno (01' 36'')
14. Chants d'Auvergne, Series 4 No. 1: Jou l'pount d'o Mirabel (03' 46'')
15. Chants d'Auvergne, Series 4 No. 2: Oi, ayai (03' 38'')
16. Chants d'Auvergne, Series 4 No. 3: Pour l'enfant (02' 39'')
17. Chants d'Auvergne, Series 4 No. 4: Chut, Chut (02' 39'')
18. Chants d'Auvergne, Series 4 No. 5: Pastorale "Bailero, lero, lero" (04' 06'')
19. Chants d'Auvergne, Series 4 No. 6: Lou Coucut (02' 10'')

CD 2

01. Chants d'Auvergne, Series 5 No. 1: Obal, din lo coumbelo (03' 17'')
02. Chants d'Auvergne, Series 5 No. 2: Quan z'eyro petitoune (02' 43'')
03. Chants d'Auvergne, Series 5 No. 3: La-haut, sur le rocher (03' 30'')
04. Chants d'Auvergne, Series 5 No. 4: He! Beyla-z-y d'au fe! (01' 51'')
05. Chants d'Auvergne, Series 5 No. 5: Postouro, se tu m'aymo (01' 48'')
06. Chants d'Auvergne, Series 5 No. 6: Te, l'co, te! (00' 42'')
07. Chants d'Auvergne, Series 5 No. 7: Uno, jionto postouro (02' 08'')
08. Chants d'Auvergne, Series 5 No. 8: Lou diziou be (01' 16'')

Chants  du Languedoc, des Pays Basques (arr. Gershon Kingsley)

09. Chants paysans-Auvergne et Quercy: La mere Antoine (01' 26'')
10. Chants paysans-Quercy: Oh ! Madelon, je dois partir (02' 00'')
11. Chants paysans Bearn: Rossignolet qui chants (03' 51'')
12. Chants du Languedoc: La fille d'un paysan (01' 57'')
13. Chants des Pays Basques: Comment donc savoir (02' 01'')
14. Chants du Languedoc: Mon pere m'a plasee (02' 19'')
15. Chants paysans-Quercy: Lorsque le meunier (01' 35'')
16. Chants du Languedoc: O up ! (01' 23'')
17. Chants des Pays Basques: Le premier de tous les oiseux (02' 15'')
18. Chants du Languedoc: Moi j'ai un homme (01' 24'')
19. Chants des Pays Basques: J'ai un douce amie (01' 52'')
20. Chants des Pays Basques: Dans le tombeau (04' 00'')
21. Chants des Pays Basques: Allons, beau rossignol (02' 03'')
22. Chants du Languedoc: Quand Marion va au moulin (02' 48'')
23. Chants paysans-Quercy: Reveillez-vous, belle endormie (02' 59'')

Personnel:

Netania Davrath: Soprano
Orchestra cond. by Pierre de la Roche / Gershon Kingsley
Baumgarten Hall, Vienna, Austria 03/27/1963, 03/16/1966

 

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Netanya Davrath's Songs of the Auvergne has stood as the reference recording in this music since the mid-1960s when it was first issued, and while challenged by the likes of Victoria de los Angeles, Frederica von Stade, and Kiri Te Kanawa, it remains without peer. Davrath was one of those unclassifiable singers (Nati Mistral was another) whose voice belonged in the sort of stylized folk music so beloved of composers working in the Romantic Nationalist style. Her boyish timbre--plaintive and penetrating but never harsh--was further tempered by extraordinary care with diction and unusually accurate pitch sensitivity--truly a case of "the art that conceals art".

And so hearing her wrap her tongue around the quicker songs such as "L'aio de rotso" is a joy whether or not you understand the words or even care about them at all, while the affecting simplicity of her "Bailero" never--as it does with Te Kanawa--comes to sound like a Prima Donna tripping languidly on acid.

This set also has an enticing coupling in the form of the New Songs of the Auvergne, orchestrations of additional Canteloube voice-and-piano settings that never made it into the official sequence. The pick-up orchestra under Pierre de la Roche shares the same virtues as Davrath: its tone is earthy and honest in a way that singularly suits the material, and the fine recorded sound has hardly dated. One problem: the track listing on the back of the jewel case is barely legible against the dark background. But the bottom line here is simple: this is the best available, and it's less expensive than ever.

~David Hurwitz, ClassicsToday.com

 
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Chants des Pays Basques...

 

María Bayo
Canteloube
Chants D'Auvergne
Chants Des Pays Basque
1998

Tracks:

Chants Des Pays Basque

1. Lurraren Pian
2. Egun Batean
3. Chorietan Buruzagi
4. Nik Badut Maiteñobat
5. Chori Erresiñoula

Chants D'Auvergne

6. La Pastoura Als Camps
7. Bailero
8. Trois Bourrées: l'Aio Dè Roiso/Ound`Onorèn Gorda/Obal Din Lou Limouzi
9. Pastourelle
10. La Delaissado
11. Deux Bourrées: N'Ai Pas Iéu de Mio?/Lo Calhé
12. Lo Fiolairé
13. Lou Boussu
14. Brezairola
15. Malurous Qu'o Uno Fenno
16. Lou Coucut
17. Postouro Sé Tu M'Aymo

Personnel:

María Bayo: Soprano
Orquesta Sinfonica de Tenerife
Dirección: Victor Pablo Perez

  

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"The big challenge in these songs is to retain the essence of folk-song, that ingenuous quality it has, keeping well clear of grandiose excess, artificiality or versophistication, which is the danger with such a rich orchestra. And yet the singer must be faithful to the score too, which certainly specifies certain dynamic levels, certain dirninuendos and crescendos, and great intensity. That is the difficult thing, marrying those two aspects together successfully."

 

 ..."I was very keen to record the chants d'Auvergne. I had gone on a tour of Japan with the Auvergne Orchestra performing these pieces: it was a great success, though what counted most was the enthusiasm I felt for these works. From the point of view of technique, they suit my voice. They rather centre on the mid range, as you would expect from music of folk origin, but they do have real substance. In the end, though, it is the evocative power of the music that draws me to it: the sense of breadth, fresh air, of simplicity in the midst of the grandeur of nature, of song born of love. These settings blend the simplicity and beauty of the melodies with colourful, rich orchestral writing, very much in the tradition of French orchestration."

For a Spanish singer the challenge of singing in the Auvergnat dialect presented fewer problems than for, say, an American or an Australian. "There are just a few consonants that are different in that dialect, the sounds mostly being the typical Latin language sounds, sharing features with French, Spanish, Italian and so on. Actually it was probably harder hitting the right tempo. One has to remember that the songs are based on folk rhythms, often ones intended for dancing. So apart from studying the dialect I visited the region, immersed myself in its landscapes, its rhythms, its people. I realized that the songs are much more than just descriptive: they have great human depth, the ageold wisdom of the people.

Unlike other recordings of these popular pieces, Bayo and her conductor Victor Pablo Perez ... add the rarely heard Basque folk-song arrangements. "When I was studying the chants d'Auvergne, I was struck by the fact that a musician from abroad -as Canteloube was - should have made arrangements of the folksongs of my own land, songs I had often sung when I was studying at music school in Pamplona. What I said for the Auvergne songs goes for these ones too: in addition to the orchestra's richness there are also the rhythms and the 'sauciness' of the words to be borne in mind. Though in the case of the Basque songs there was no special difficulty involved since I have known them all my life."
 

>source< 
 

Maria Bayo official website

 

wiki
 

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