{"id":10540,"date":"2016-05-04T11:45:32","date_gmt":"2016-05-04T09:45:32","guid":{"rendered":"https:\/\/www.iemj.org\/2016\/05\/04\/melodies-prescience-conscience-2\/"},"modified":"2025-10-20T17:45:46","modified_gmt":"2025-10-20T15:45:46","slug":"melodies-prescience-conscience-2","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/en\/melodies-prescience-conscience-2\/","title":{"rendered":"M\u00e9lodies – Prescience, Conscience"},"content":{"rendered":"

They were young and seemed assured of a brilliant future. They were Belgian (Devaere), German (Stephan, J\u00fcrgens), British (Butterworth, Farrar), Australian (Kelly) or French. On the eve of the conflict, in their songs and with an impressive sense of foreboding, they expressed at once nostalgia for a bygone era, wrestling with the eternal themes of oblivion and death, and the sorrows of their lives about to be upended. The survivors, striving to overcome bitterness and sadness, found the strength to sing forth the hope or peace they felt themselves to be regaining.<\/p>\n

Learn more and order the CD<\/a><\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
HORTUS 704 | CD DDD \u2117 Hortus 2014 | T.T. 69’49<\/td>\n<\/tr>\n
\u00a0<\/td>\n<\/tr>\n
\u00a0<\/td>\nFernand Halphen (1872-1917)<\/td>\n<\/tr>\n
1.<\/td>\nPour Cyth\u00e8re<\/td>\n1’15<\/td>\n<\/tr>\n
\u00a0<\/td>\nHenry F\u00e9vrier (1875-1957)<\/td>\n<\/tr>\n
2.<\/td>\nLa derni\u00e8re chanson<\/td>\n4’57<\/td>\n<\/tr>\n
\u00a0<\/td>\nJ\u00fcrgens (1888-1915)<\/td>\n<\/tr>\n
3.<\/td>\nDas Treue Paar<\/td>\n2’21<\/td>\n<\/tr>\n
4.<\/td>\nDer Geworbene<\/td>\n2’22<\/td>\n<\/tr>\n
5.<\/td>\nDeh Nicht<\/td>\n1’40<\/td>\n<\/tr>\n
6.<\/td>\nFrom<\/td>\n2’46<\/td>\n<\/tr>\n
\u00a0<\/td>\nMaurice Ravel (1875-1937)<\/td>\n<\/tr>\n
\u00a0<\/td>\nTrois chansons<\/td>\n\u00a0<\/td>\n<\/tr>\n
7.<\/td>\nNicolette<\/td>\n2’04<\/td>\n<\/tr>\n
8.<\/td>\nTrois beaux oiseaux du paradis<\/td>\n3’04<\/td>\n<\/tr>\n
\u00a0<\/td>\nGeorge Butterworth (1885-1916)<\/td>\n<\/tr>\n
9.<\/td>\nOn the idle hill of summer<\/td>\n3’26<\/td>\n<\/tr>\n
10.<\/td>\nLoveliest of trees<\/td>\n2’33<\/td>\n<\/tr>\n
\u00a0<\/td>\nFrederick Septimus Kelly (1881-1916)<\/td>\n<\/tr>\n
11.<\/td>\nShall I compare Thee ?<\/td>\n3’02<\/td>\n<\/tr>\n
\u00a0<\/td>\nGabriel Faur\u00e9 (1845-1924)<\/td>\n<\/tr>\n
12.<\/td>\nC’est la paix op.114 op. 114<\/td>\n1’17<\/td>\n<\/tr>\n
\u00a0<\/td>\nErnest Farrar (1885-1918)<\/td>\n<\/tr>\n
\u00a0<\/td>\n3 pi\u00e8ces pour piano op. 23<\/td>\n\u00a0<\/td>\n<\/tr>\n
13.<\/td>\nMenuet<\/td>\n1’11<\/td>\n<\/tr>\n
14.<\/td>\nLullaby<\/td>\n3’13<\/td>\n<\/tr>\n
15.<\/td>\nCaprice<\/td>\n1’24<\/td>\n<\/tr>\n
\u00a0<\/td>\nAndr\u00e9 Devaere (1890-1914)<\/td>\n<\/tr>\n
16.<\/td>\nLa fl\u00fbte am\u00e8re de l’automne op. 1<\/td>\n2’08<\/td>\n<\/tr>\n
\u00a0<\/td>\nRudi Stephan (1887-1915)<\/td>\n<\/tr>\n
17.<\/td>\nPappel im Strahl<\/td>\n1’44<\/td>\n<\/tr>\n
18.<\/td>\nHeimat<\/td>\n3’23<\/td>\n<\/tr>\n
\u00a0<\/td>\nClaude Debussy (1862-1918)<\/td>\n<\/tr>\n
19.<\/td>\nNo\u00ebl des enfants qui n’ont plus de maison<\/td>\n2’32<\/td>\n<\/tr>\n
\u00a0<\/td>\nReynaldo Hahn (1874-1947)<\/td>\n<\/tr>\n
20.<\/td>\nLe plus beau pr\u00e9sent<\/td>\n3’11<\/td>\n<\/tr>\n
\u00a0<\/td>\nErwin Schulhoff (1894-1942)<\/td>\n<\/tr>\n
\u00a0<\/td>\n5 Ges\u00e4nge op. 39<\/td>\n\u00a0<\/td>\n<\/tr>\n
21.<\/td>\nLangsam wandle Ich<\/td>\n4’33<\/td>\n<\/tr>\n
22.<\/td>\nLass Mich<\/td>\n1’03<\/td>\n<\/tr>\n
23.<\/td>\nNun versank der Abend<\/td>\n3’00<\/td>\n<\/tr>\n
\u00a0<\/td>\nAndr\u00e9 Devaere (1890-1914)<\/td>\n<\/tr>\n
24.<\/td>\nGrave et poignant, pour piano<\/td>\n5’37<\/td>\n<\/tr>\n
\u00a0<\/td>\nRudi Stephan (1887-1915)<\/td>\n<\/tr>\n
25.<\/td>\nAbendfrieden<\/td>\n3’40<\/td>\n<\/tr>\n
\u00a0<\/td>\nGeorge Butterworth (1885-1916)<\/td>\n<\/tr>\n
26.<\/td>\nThe lads in their hundreds<\/td>\n2’10<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/a><\/p>\n\n

\n
\"\"<\/figure>\n<\/div>\n\n\n
F. Halphen, Pour Cyth\u00e8re<\/a><\/div>\n\n\n\n
F.S. Kelly, Shall I compare thee?<\/a><\/div>\n\n\n\n
E. Farrar, Lullaby<\/a><\/div>\n\n\n\n
R. Hahn, Le plus beau pr\u00e9sent<\/a><\/div>\n\n\n\n
E. Schulhoff, Nun versank der Abend<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"

They were young and seemed assured of a brilliant future. They were Belgian (Devaere), German (Stephan, J\u00fcrgens), British (Butterworth, Farrar), Australian (Kelly) or French. On the eve of the conflict,<\/p>\n","protected":false},"author":1048,"featured_media":10538,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1570],"tags":[],"technique":[],"squelettes":[],"sujet":[],"formation":[],"genre":[1117],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-10540","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cd-latest-acquisition-en","genre-classical-music"],"acf":[],"yoast_head":"\nM\u00e9lodies - Prescience, Conscience - Institut Europ\u00e9en des Musiques Juives<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.iemj.org\/en\/melodies-prescience-conscience-2\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"M\u00e9lodies - Prescience, Conscience - Institut Europ\u00e9en des Musiques Juives\" \/>\n<meta property=\"og:description\" content=\"They were young and seemed assured of a brilliant future. 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