Concerto for flute, cello, piano & strings in E flat major, Op. 89
By today's standards, Vincent d'Indy may be thought of as something of a musical curmudgeon. Throughout his long and productive lifetime, he was uniformly resistant to new movements in music, in particular the threat he perceived in the group of his young countrymen known collectively as Les Six. His own compositions support his vocal conservatism; they are very much rooted in the late Romantic with frequent tips-of-the-hat to the Baroque. D'Indy's first symphony, completed in its first draft in 1872, is a work d'Indy ...
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By today's standards, Vincent d'Indy may be thought of as something of a musical curmudgeon. Throughout his long and productive lifetime, he was uniformly resistant to new movements in music, in particular the threat he perceived in the group of his young countrymen known collectively as Les Six. His own compositions support his vocal conservatism; they are very much rooted in the late Romantic with frequent tips-of-the-hat to the Baroque. D'Indy's first symphony, completed in its first draft in 1872, is a work d'Indy curiously tried to distance himself from. Although it is a chronologically "youthful" composition, it is still a very well-developed and sophisticated work, making its infrequent performance and d'Indy's own disdain somewhat perplexing. The Concert for piano, flute, cello, and strings, written in 1926, shows the pervasiveness and endurance of d'Indy's conservatism. The scoring and composition each harken back to the Baroque. Heard here performing these two pleasing works is the Orchestre...
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