Скачать или смотреть Reynaldo Hahn: Le Rossignol Éperdu / The Bewildered Nightingale (reference record.: Catherine Joly)

Reynaldo Hahn (1874-1947) Le Rossignol Éperdu
Le Rossignol Éperdu (1898-1910)
I. Première Suite
00:00 Soleil d'automne
02:03 Les Deux Écharpes
03:00 Liebe ! Liebe !
03:45 Chanson de Midi
05:03 Never more
06:31 Portrait
07:10 L’Enfant au Perroquet
08:38 Ivresse
10:04 L’Arôme suprême
11:34 Ouranos
13:31 Les Héliotropes du Clos-André
14:48 Effet de nuit sur la Seine
16:15 Per i piccoli canali (Venise)
20:59 Mirage
22:24 Chérubin tragique
24:13 Les Chênes enlacés

II. Orient
26:52 Narguilé
29:38 Les Chiens de Galata (Effet de nuit sur la Corne d'Or)

III. Carnet de Voyage
32:50 L’Ange Verrier (Cathédrale de Bourges - vitraux)
35:35 Faunesse dansante (Le Rosso - Palais de Fontainebleau)
36:59 Les Noces du Duc de Joyeuse (Musée de Versailles)

IV. Versailles
39:13 Le Réveil de Flore
41:47 Le Banc songeur
44:33 Adieux au soir tombant (duo mimé)
46:43Le Pèlerinage inutile

Piano: Catherine Joly
Recorded in 1988, at Paris
New mastering in 2026 by AB for CMRR
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Reynaldo HAHN remains, within the French repertoire, the often-cited model of the “minor master,” in the sense the term may be applied to painting: a craftsman of solid technique, capable of sketching pleasant landscapes with finesse and skill, yet whose influence has remained limited. It is a fact that this gifted pupil of Massenet never sought to revolutionize musical language, and that his artistic taste would always retain a fastidious prudence, markedly conservative in spirit.

Reynaldo Hahn’s “standing” was considerably enhanced by his very close friendship with the writer who, in literature, would carve far deeper furrows to irrigate the twentieth century: Marcel Proust. Proust, who marveled at Debussy’s Pelléas through the théâtrophone, sensed its modernity but never managed to convince his friend Reynaldo.

Reynaldo Hahn believed in the untouchable primacy of melodic expression. He was attached to a classical formulation whose line could bend only through tempered mannerism, caprice, or grace—never through speculation or a will to rupture. He would always fight energetically, notably in his famous Figaro chronicles signed “Clarendon,” against anything that seemed to him to stray from these principles of balance, which for him constituted a higher form of artistic “courtesy.”

Cultivated, sharp-witted, and often biting, Reynaldo Hahn—lionized in the salons—remains for many the figure who conducted Mozart in white gloves. While his mélodies form the most widely disseminated part of his œuvre, his piano music, relatively limited in quantity, had remained for us entirely unknown: never reissued and very rarely performed. The greater part of the pieces included on this recording are presented here for the first time.

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