![Jeanne-Marie Darré · The Early Recordings [VAI 2CD set] [Re-up]](https://pixhost.icu/avaxhome/66/a5/0011a566_medium.jpeg)
Jeanne-Marie Darré · The Early Recordings [VAI 2CD set] [Re-up]
![Jeanne-Marie Darré · The Early Recordings [VAI 2CD set] [Re-up]](https://pixhost.icu/avaxhome/66/a5/0011a566.jpeg)
Jeanne-Marie Darré · The Early Recordings [VAI 2CD set]
EAC rip | Flac, IMG+CUE, Logs | 533 MB | Full 300 dpi scans | WinRar [no rec rec]
Label: VAIA/IPA # 1065-2 | Rel. 1994| Rec.: 1922; 1931 and for Pathé between 1946-47
EAC rip | Flac, IMG+CUE, Logs | 533 MB | Full 300 dpi scans | WinRar [no rec rec]
Label: VAIA/IPA # 1065-2 | Rel. 1994| Rec.: 1922; 1931 and for Pathé between 1946-47
From the notes: "Madame Darré's musical style changed over the years, as we can trace in this selection of her recordings made between the ages of 17 and 42.. In her last New York recitals in the early 1980's, she was no longer the fire-eating virtuoso, and molded cantilena with an exquisite soft legato, always charged with unexpected colors, turns of phrase, or important bass voice-leadings. Nevertheless, one of her trademarks, an infectious sense of rhythm, remained the same. … Her personal style was striking and colorful. She strode on stage like an athlete and the dancer she had been, resplendently gowned in extravagant hues that offset her hair. (At least once, she wore a slightly shocking formal miniskirt for an important New York recital!) Perhaps, if she considered it warm, she'd fling her jacket to the side of the stage before plunging without any fuss into the performance. Her audiences seemed to sense that she was an artist who loved to play" Notes by Gregor Benko
![Jeanne-Marie Darré · The Early Recordings [VAI 2CD set] [Re-up]](https://pixhost.icu/avaxhome/70/a5/0011a570_medium.jpeg)
Jeanne-Marie Darré · The Early Recordings [VAI 2CD set] [Re-up]
![Jeanne-Marie Darré · The Early Recordings [VAI 2CD set] [Re-up]](https://pixhost.icu/avaxhome/70/a5/0011a570.jpeg)
CD 1 [64:51]
FREDERIC CHOPIN
1. Etude Op. 10 No. 1 in C
2. Etude Op. 10 No. 2 in A minor
3. Etude Op. 10 No. 4 in C sharp minor
4. Etude Op. 10 No. 5 in G flat "Black Key"
5. Etude Op. 25 No. 1 in A flat "Aeolian Harp"
6. Etude Op. 25 No. 6 in G sharp minor
7. Etude Op. 25 No. 8 in D flat
8. Etude Op. 25 No. 9 in G flat "Butterfly"
9. Three Ecossaises, Op. 72 Nos. 3-5
10. Tarantelle in A flat, Op. 43
11. Andante Spianato e Grande Polonaise Brillante in E flat, Op.22
Paris Conservatory Orchestra conducted by André Cluytens
CAMILLE SAINT-SAËNS
12. Etude, Op. 111 No. 2 in F "Toccata d'après le cinquième concerto"
Concerto No. 2 in G minor, Op. 22
Orchestra of the Colonne concerts conducted by Paul Paray
13. 1st. Mov.: Andante sostenuto - Molto animato
14. 2nd. Mov.: Allegro scherzando
15. 3rd. Mov.: Presto
J. STRAUSS (Arr. E. DOHNÁNYI)
16. Schatz Waltz from "The Gipsy Baron"
FREDERIC CHOPIN
1. Etude Op. 10 No. 1 in C
2. Etude Op. 10 No. 2 in A minor
3. Etude Op. 10 No. 4 in C sharp minor
4. Etude Op. 10 No. 5 in G flat "Black Key"
5. Etude Op. 25 No. 1 in A flat "Aeolian Harp"
6. Etude Op. 25 No. 6 in G sharp minor
7. Etude Op. 25 No. 8 in D flat
8. Etude Op. 25 No. 9 in G flat "Butterfly"
9. Three Ecossaises, Op. 72 Nos. 3-5
10. Tarantelle in A flat, Op. 43
11. Andante Spianato e Grande Polonaise Brillante in E flat, Op.22
Paris Conservatory Orchestra conducted by André Cluytens
CAMILLE SAINT-SAËNS
12. Etude, Op. 111 No. 2 in F "Toccata d'après le cinquième concerto"
Concerto No. 2 in G minor, Op. 22
Orchestra of the Colonne concerts conducted by Paul Paray
13. 1st. Mov.: Andante sostenuto - Molto animato
14. 2nd. Mov.: Allegro scherzando
15. 3rd. Mov.: Presto
J. STRAUSS (Arr. E. DOHNÁNYI)
16. Schatz Waltz from "The Gipsy Baron"
CD 2
J.S. BACH (Arr. R. PICK-MNGIAGALLI)
1. Prelude from Partita for unaccompanied Violin No. 3 in E
C.M.WEBER (Arr. R. GANZ)
2. Sonata No. 1 in C, Op. 24,
4th movement: Presto - Perpetuum mobile
ROBERT SCHUMANN
3. Romance in F sharp, Op. 28 No. 2
FELIX MENDELSSOHN
4. Prelude, Op. 104a No. 3 in D
5. Song Without Words, Op. 19 No. 1 in E, "Sweet Remembrance"
6. Song Without Words, Op. 53 No. 4 in F, "Berceuse"
7. Song Without Words, Op. 62 No. 6 in A, "Spring Song"
8. Song Without Words, Op. 67 No. 4 in C, "The Spinning Song""
FRANZ LISZT
9. Pagaini Etude No. 4 in E, "La Chasse" (1838 version)
10. Paganini Etude No. 3 in A flat minor, "La Campanella" (1838 version)
11. Paganini Etude No. 3 in A flat minor, "La Campanella" (1851 version)
12. Trascendental Etude No. 4 "Feux Follets"
13. Trascendental Etude No. 11 "Harmonies du soir"
14. Polonaise No. 2 in E
15. Liebestraum No. 3 in A flat
ISIDOR PHILIPP
16. Caprice in Double Notes in F sharp
SERGEI RACHMANINOFF
17. Prelude Op. 3 No. 2 in C sharp minor
18. Prelude Op. 23 No. 5 in G minor
STEPHAN JARAY-JANETSCHEK
19. Toccata
J.S. BACH (Arr. R. PICK-MNGIAGALLI)
1. Prelude from Partita for unaccompanied Violin No. 3 in E
C.M.WEBER (Arr. R. GANZ)
2. Sonata No. 1 in C, Op. 24,
4th movement: Presto - Perpetuum mobile
ROBERT SCHUMANN
3. Romance in F sharp, Op. 28 No. 2
FELIX MENDELSSOHN
4. Prelude, Op. 104a No. 3 in D
5. Song Without Words, Op. 19 No. 1 in E, "Sweet Remembrance"
6. Song Without Words, Op. 53 No. 4 in F, "Berceuse"
7. Song Without Words, Op. 62 No. 6 in A, "Spring Song"
8. Song Without Words, Op. 67 No. 4 in C, "The Spinning Song""
FRANZ LISZT
9. Pagaini Etude No. 4 in E, "La Chasse" (1838 version)
10. Paganini Etude No. 3 in A flat minor, "La Campanella" (1838 version)
11. Paganini Etude No. 3 in A flat minor, "La Campanella" (1851 version)
12. Trascendental Etude No. 4 "Feux Follets"
13. Trascendental Etude No. 11 "Harmonies du soir"
14. Polonaise No. 2 in E
15. Liebestraum No. 3 in A flat
ISIDOR PHILIPP
16. Caprice in Double Notes in F sharp
SERGEI RACHMANINOFF
17. Prelude Op. 3 No. 2 in C sharp minor
18. Prelude Op. 23 No. 5 in G minor
STEPHAN JARAY-JANETSCHEK
19. Toccata
Jeanne-Marie Darré, piano
'No concertizing child prodigy –- "It's dangerous to be a child prodigy" –- Jeanne-Marie Darré started to study at age five with her mother at Givet, France, in the Ardennes near Belgium where she was born, but did not make a big splash until she was 21. That May 28, 1926, performance of the five Saint-Saëns concertos with the Lamoreux Orchestra under Paul Paray was by all accounts spectacular, "astonishing the Parisian musical world", as one person present, Maurice Dumesnil, recalled. The artist herself terms the evening "brilliant, more interesting than my debut recital when I was 14 at the Salle Erard. I had great joy playing those works the same evening without fatigue."
Behind that success stood Paris Conservatory teachers on the order of Marguerite Long and Isidor Philipp, who guided her from the age of 9 through her first prize at the age of 12 and her debut diet of Bach, Beethoven, Chopin and Liszt.'
Enjoy!
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Jeanne-Marie Darré [1922-31-46-47] / The Early Recordings CD 1 or 2
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EAC extraction logfile from 9. November 2007, 17:26 for CD
Jeanne-Marie Darré [1922-31-46-47] / The Early Recordings CD 2 of 2
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Jeanne-Marie Darré [1922-31-46-47] / The Early Recordings CD 2 of 2
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Read mode : Burst
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Overread into Lead-In and Lead-Out : No
Used output format : Internal WAV Routines
44.100 Hz; 16 Bit; Stereo
Other options :
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Installed external ASPI interface
Range status and errors
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