1-5. Medee, incidental music and suite, Op.47
I. Prelude     9:25
II. Pantomime     3:52
III. L'attente de Medee     5:31
IV. Medee et Jason     4:47
V. Le triomphe aurorale     5:37
6-8. Karadec, petite suite for orchestra, Op.34
I. Prelude   4:53
II. Chanson     3:02
III. Noce bretonne     3:28
9. Souvenirs, tone poem for orchestra, Op.62      19:36

Wurttemberg Philharmonic Orchestra
Gilles Nopre – conductor

What does one see when one looks in the mirror? Beyond the obvious face, one's eye may decipher the entire sweep of a lifetime of memories. Memories both pleasant and sad may loom large in that reflected image. Marco Polo has issued a disc containing three works by Frenchman Vincent D'Indy. Spanning roughly fifteen years, the music provides a glimpse of this man's reflection and his varied memories.

The earliest music on the disc is from Karadec (1892). Presented are three excerpts from that work in the form of a "petite suite". The prevailing mood of the music is that of gentle nostalgia, though there are moments of heightened emotion. D'Indy made use of Breton folk material in his finale, which takes the form of a happy wedding celebration.

The 1898 production of D'Indy's theatrical work Médée marked the beginning of his newly founded Schola Cantorum, a forum for the composition and performance of new French music. The influences of two composers (Wagner and Franck) are felt in Médée. The work includes six scenes: a Prélude, pantomime, portrait of Médea, Médea and Jason, and Triumph of Aurora. D'Indy explores this literary subject using subtle musical poetry.

The final work on the disc is also its most personal, the poème pour orchestre, Souvenirs, of 1905. While the other works so far have provided a view of D'Indy's "working music" by showing his skill at adapting folk material and expressing poetry in music, Souvenirs is D'Indy's autobiography. There is a sense of sadness and lost love in this creation, not surprising since the death of D'Indy's wife inspired it. The music is wonderfully affecting, and recalls not only the composer's suffering but much of his joy. D'Indy allows us to see and smell the beautiful flower of his life before and after its passing.

Conductor Gilles Nopre and the Württemberg Philharmonic are up to the task of recreating the understated shades of this music. The unflashy but competent recording quality assists in providing a clear reflection of the composer. Recommended, then, especially for the brave earnestness of Souvenirs. --- Peter S. Murano, classical.net

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Symphonie sur un chant montagnard français ("Cévenole"), Op. 25
pour piano et orchestre, en sol majeur
1. Assez lent - Moderement anime
2. Assez modere, mais sans lenteur
3. Anime

Aldo Ciccolini, piano
Orchestre de Paris
Serge Baudo

Symphonie no.2, en si bémol majeur, Op. 57
4. Extremement lent - Tres vif - Un peu plus modere
5. Moderement lent - Plus anime
6. Modere - Tres anime - Modere - Assez vif
7. Lent - Moderement lent - Modere et solennel

Orchestre du Capitole de Toulouse
Michel Plasson

Jour d'été ŕ la montagne, Op. 61
8. I. Aurore
9. II. Jour 
10. III. Soir

Symphonie sur un chant montagnard "Cévenole" in G-Dur, Op. 25 
11. I. Assez lent - Modérément animé - Allegro
12. II. Assez modéré, mais sans lenteur
13. III. Animé

Catherine Collard, piano
Orchestre Philharmonique de Radio France
Marek Janowski

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1. L'Etranger (The Stranger), Op. 53: Prelude to Act II		7:59 
2. Tableaux de voyage, Op. 36: No. 1 Preambule (Preamble)	1:49
3. Tableaux de voyage, Op. 36: No. 2 En marche (On The Road)	2:53
4. Tableaux de voyage, Op. 36: No. 3 Le glas (The Knell)		3:20
5. Tableaux de voyage, Op. 36: No. 4 Lac vert (Green Lake)	1:46	
6. Tableaux de voyage, Op. 36: No. 5 La poste (The Post)	1:07
7. Tableaux de voyage, Op. 36: No. 6 Reve (Dream)		6:41	
8. Fantaisie sur des themes populaires francais, Op. 31:		13:50
9. Fervaal, Op. 40: Fervaal, Op. 40: Prelude to Act I		5:30	
10. Saugefleurie, legende d'apres un conte de Robert de Bonnieres, Op. 21 16:18

Philippe Cousu – Oboe (8)
Württemberg Philharmonie Reutlingen
Jean-Marc Burfin – Conductor

The beautiful symphonic composition Tableaux de Voyage is a fine example of Vincent d'Indy's genius, and also a wonderful example of his use of the cyclic technique (l'unite cyclique dans l'oeuvre d'art) that he so greatly expounded during his lifetime and in his Cours de Composition Musicale. It is a technique that incorporates harmonic, rhythmic and melodic material from different movements, allowing works of music to become more unified. d'Indy traces the cyclic technique to Beethoven, but it was first fully developed and expounded by his teacher, César Franck.

Tableaux de Voyage was a result of a trip that d’Indy had made to Bayreuth in August 1888 to hear Wagner’s Meistersinger and Parsifal. d’Indy realized his impressions of this trip as a set of thirteen piano pieces: Tableaux de Voyage Op. 33, Treize pičces pour piano that Leduc published during the following year. Subsequently he orchestrated six of the thirteen pieces, and these were published by Leduc in 1891 as Tableaux de Voyage Op. 36, suite d'orchestre en 6 parties. The work was first performed on 17January, 1892 at Havre, then soon after at Angers. ---Don Robertson, dovesong.com

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