HYMNES POUR ORCHESTRE
André-François Marescotti was born in Carouge in 1902. Following his studies at the Geneva Conservatory, Marescotti went to Paris to study with Roger Ducasse. The whole Parisian atmosphere made a lasting impression. He was influenced, of course, by Debussy and Ravel, but more particularly by Roussel. This education produced a personal style markedly Latin in character, as opposed to the rest of Swiss music, marked as it is by Honegger’s influence, the Protestant chorale, or the principles of Hindemith. This style is noticeable for its inherent sense of humour, which for a long time led to Marescotti being regarded as too spontaneous a composer. From 1942 to 1948 the composer went through a serious crisis, which led him to formulate anew his means of expression He realized that an important part of contemporary musical evolution, namely the contribution of the New Viennese school, had passed him by, owing to its delayed impact on the Parisian scene. The strong effect “Wozzeck” had on Marescotti sparked an interest in Berg’s work and led him to study the theories of Schönberg. This resulted in a seven-year crisis, for Marescotti – far from automatically adopting the new tenets of dodecaphonic music – sought to integrate them into his own language and sensitivity.
André-François Marescotti (1902-1995)
H. Datyner (Klavier), M. Brodard (Bass), J.-C. Charrez (Klavier), Basler Sinfonie-Orchester, Mario Venzago (Leitung).
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