Detroit Chamber Trio | Dallier, Vierne, Bonnal

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Classical: Traditional Classical: Sonata Moods: Type: Instrumental
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Dallier, Vierne, Bonnal

by Detroit Chamber Trio

This audiophile CD features a Piano Trio and Violin Sonata in two world premier recordings by composers Henri Dallier and Ermend Bonnal, along with a Cello Sonata by Louis Vierne. You will find this music lusciously lyrical, but witty
Genre: Classical: Traditional
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1. Trio in D Minor, I. Allegro deciso
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7:22 $0.99
2. Trio in D Minor, II. Adagio
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6:43 $0.99
3. Trio in D Minor, III. Scherzo
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4. Trio in D Minor, IV. Finale
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5. Sonata in C Minor, Op. 27: I. Poco Lento-Allegro moderato
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6. Sonata in C Minor, Op. 27: II. Molto Largamente
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7:47 $0.99
7. Sonata in C Minor, Op. 27: III. Risoluto - Allegro molto
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6:18 $0.99
8. Sonata for Piano and Violin, I. Assez vite
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7:07 $0.99
9. Sonata for Piano and Violin, II. Andante
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10. Sonata for Piano and Violin, III. Scherzo
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ABOUT THIS ALBUM


Album Notes
From the discovery of new and wonderful music,
to the beautiful, rich High Fidelity sound, this has
been a work in progress for the past 3 years.
This CD features world premier recordings of
two composer's work, Henri Dallier and Ermend Bonnal,
along with music of Louis Vierne.
You  will find this music lusciously lyrical, but witty,
and yet full of passion and color.

"Beautifully played music that delights the ears."


Our idea behind making this recording
was to introduce listeners like you to three little
known treasures from the French repertoire.
Although the Vierne Sonata has been recorded
before, it is seldom performed and certainly
deserves to be heard much more often. The other
two works on this CD had never been recorded
and the music for one is out of print and the
other was never published.
It was an unexpected delight to discover the
Trio by Henri Dallier. This is a marvelous work
that we hope will become a part of the standard
piano trio repertoire. The parts were copied
from microfilm furnished by the New York
Public Library.
The manuscript for Bonnal's Sonata for
piano and violin was graciously given to us by
the composer's daughter, Marie-Elizabeth Bonnal.
Eduard Perrone edited and transcribed our parts
for this charming piece. We hope you enjoy
discovering this music as much as we enjoyed
recording it.

Velda Kelly



A composer of chamber music, art songs
and organ pieces, Henri Dallier is best known
as an organist and renowned for his talents as
improviser and performer. Before the first
World War, people jostled with one another
for the chance to hear him at the Cavaillé-Coll
organ in the Church of the Madeleine in Paris,
where he played for more than thirty years.
Born on March 20, 1849 in Reims, Henri Dallier
doubtless received valuable training at that city's
cathedral school and, at the age of sixteen
was named choir organist at the Notre-Dame
Cathedral of Reims. Shortly thereafter, in 1867,
he wrote his First Sonata for organ. He then
entered the Paris Conservatory to complete his
musical education, notably in the classes of
César Franck and François Bazin. Awarded
honorable mention for the Concours de Rome
in 1878 and a first prize in organ the same year,
he was named to succeed Edouard Batiste as
organist at Saint-Eustache Church in Paris.
In 1905 he was called to the great organ of
the Madeleine, as successor to Gabriel Fauré.
Saint-Saëns also once performed on the same
organ, and dedicated his third Prelude and
Fugue, op. 109 to Dallier in 1898. In spite of
his many successes and growing fame, Henri
Dallier always remained an affable man,
modest, wise and sometimes witty. An organ
virtuoso, also an excellent pianist, he devoted
much of his energy to teaching, first at the
École Niedermeyer and then at the Paris
Conservatory from 1908. There he taught
harmony for twenty years before his retirement
in 1928. The catalog of Henri Dallier shows
more diversity than quantity, and his works
reveal writing of refined musicality. He produced
compositions for piano, chamber music among
which can be cited a piano quintet (1881),
a piano trio (1898, Fromont), a Fantaisie
Caprice for oboe and piano (Leduc), vocal
music and universally-known organ pieces
including the Cinq Invocations for large organ
(1925, H Lemoine). On December 23, 1934
Henri Dallier fell victim to "an insidious illness,
painful in its form and slow progression."

Denis Havard de la Montagne
(Translated by Haden McKay)



A renowned organist, Louis Victor Jules
Vierne was born blind on October 8, 1870 in
Poitiers, France. In 1880 he moved with his
family to Paris, where his father Henri Vierne
had been named editor of the newspaper Le
Figaro. His uncle, Charles Colin (1832-1891),
winner of the Prix de Rome composition prize
in 1857, taught oboe at the Paris Conservatory.
It was Colin, additionally serving as organist at
the Paris church of Saint Denis, who helped
Vierne discover the organ. Entering the National
Institute for the education of the blind in 1881,
Vierne studied piano, organ and violin and met
César Franck, who was a frequent visitor to the
school. Franck admitted Vierne to his organ
class at the Conservatory (1888) where Vierne
would later become a student of Widor and earn
his first prize for organ in 1894. As assistant to
Widor and Guilmant at the Conservatory, then
professor of organ at the Schola Cantorum
(1912 to 1934) and at the Ecole César Franck
(1935 to 1937), Vierne in turn formed many
pupils, among them such exponents of the
French organ school as Dupré, Bonnet, Duruflé,
Schweitzer, Nadia Boulanger, E. Souberbielle,
Fleury, and Gavoty. As an organist, he began to
assist his teacher Widor at Saint-Sulpice, before
assuming the prestigious post at Notre-Dame
Cathedral on May 21, 1900, a position he
would occupy for 37 years during which he
would bring French organ music to its apogee.
An eminent recitalist and remarkable improviser,
Louis Vierne gave many concerts both in France
and on international tours. On June 2, 1937
at Notre Dame, near the end of his 1,750th
concert, as he prepared to improvise on the
theme of Alma Redemptoris Mater at the
Cavaillé-Coll organ, he collapsed and died from
a fit of apoplexy.
Vierne's catalog comprises 62 opus numbers.
He composed orchestral pieces (Symphony in
A, Suite bourguignonne, Ballade for violin and
orchestra, Poème for piano and orchestra,
Soirs étrangers for cello and orchestra); vocal
works (art songs, choral pieces and motets);
chamber music (a piano quintet, a string
quartet, Largo et canzonetta for oboe and
piano, a violin sonata, a cello sonata, 1910;
piano works, and works for his own instrument,
notably six Symphonies for organ, Pièces de
fantaisie, and Pièces en style libre; and a Messe
solennelle for choir, brass, tympani and two
organs. Vierne's compositions reveal a great
purity of style. In the words of Gavoty, his music
"is and remains essentially lyrical; it speaks the
language of the heart."

Denis Havard de la Montagne
(Translated by Haden McKay)



A cultivated artist, a first class performer,
a composer imbued with the love of poetry,
Joseph Ermend-Bonnal created an abundant
body of work in which he tackled all genres,
from children's piano pieces to the symphony.
It is his music for the organ, however, which is
most often played today, with such pieces as the
Paysages Euskariens (1930) and his Symphony
"Media Vita" in C-sharp minor (1932).
His chamber music, less well known, is also
worthy of esteem, including two string quartets,
a string trio (1934) which the Pasquier Trio
perfomed widely on tour and which brought
them a Grand Prix du Disque, a Menuet Triste
for flute and string quintet, Trois Portraits de
Musiciens for three violins, and several works
for two instruments (oboe and piano, cello
and piano, violin and piano, violin and cello).
His richly expressive music prompted Vierne
to say: "Here is a highly personal composer, a
poet inspired by nature, a being with a deep
and moving sensibility."
Born on July 1, 1880, in Bordeaux, where
he died on August 14, 1944, Bonnal received
his first lessons from his father, a violinist. He
then entered the Paris Conservatory where he
studied with Bériot (piano), Taudou (harmony),
Guilmant and Vierne (organ) and Fauré
(composition) and received first prizes in organ,
composition, and fugue. A disciple also of
Charles Tournemire, a "marvelous professor
of improvisation" whom he would esteem highly
his whole life, Ermend-Bonnal filled in for him
at the organ of Sainte-Clotilde for many years
before succeeding him in 1941. In the
meantime he served as organist at Saint-Médard,
Notre-Dame of Boulogne-sur-Seine (of the
Dominicans), and substituted for Périlhou at
Saint-Séverin as well as for Widor at Saint-
Sulpice. His career as an organist, which had
begun at Saint-Pierre in Bordeaux, would also
lead him to Saint-André in Bayonne where he
resided from 1920 until 1941, directing the
Ecole Nationale de Musique and founding the
Concerts Rameau. The Basque country, so near
to his heart, inspired several of his compositions.
A member of the jury at the Paris Conservatory,
Inspector General of musical instruction (1941),
he was also active as a teacher from 1892.
Maurice Ohana figures among his piano
students. At Bonnal's death, Norbert Dufourcq
wrote: "In him French music has lost one of
its most representative members and one of its
greatest servants." Joseph Ermend-Bonnal had
that quality rarely encountered in a musician:
to be at once a virtuoso, a composer,
and an improviser. He was, in a word,
an exceptionally gifted artist.

Denis Havard de la Montagne
(Translated by Haden McKay)



Technical notes:
These recordings were produced using the best
available technology. Each link in the recording
chain was chosen for its audio fidelity and ability
to relay the true timbre, color and dynamic
range that each musical element produces. The
microphones used on this recording were the
B.L.U.E. Dragonfly, Neumann U89, AKG C 414 and
Oktava ML-52 ribbon microphone. The signals
were passed directly from the precision
microphone preamps to a custom designed 24-bit
96KHz digital recording console. Mixing and
editing were completed in 32-bit depth to preserve
fidelity. The final mix was then reduced to 16-bit
with proprietary noise shaping and bitmapping
routines for compatibility with the CD format.
The result is an ultra hi fidelity super bit depth
recording with stunning realism on standard CD
format. Everyone has generously supplied his or
her time and talent to perform and record these
little known works so that they may be heard and
enjoyed.I hope you enjoy the music and sound
we have tried to produce on this CD.

Joseph LaQuiere (engineer)



For the Bonnal Sonata, violinist Velda Kelly
plays a very special Stradivarius violin called
the Marquis de Rivière, from the year 1718.

For the Dallier, Ms. Kelly plays a violin by
Raymond Melanson (Boston 1995).

Nadine Deleury performs on a cello by
Giuseppe Tarasconi (Milan 1898).

The piano is a 7'2" August Förster grand.

Recorded 2003-2004,
Award Audio/Studio A, St. Clair Shores, MI


Reviews


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Jon Krueger

Professional all around
Rarely heard but attractive music from the great late 19th/early 20th century French composers better known for their organ compositions than their chamber music. The musicians on the disc are clearly professional and dedicated to this wonderful music.