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Helena
Munktell
Sérénade
Dans le lointain des Bois
Ce Qu'entedent les Nuits
D'un Berceau
Cantilène
Fascination
La dernière Berceuse
Exil D'Amour
Si tu le voulais
Fidélité
Erik
Satie
Les
Ange,
Elégie
Sylvie
Chanson,
Les Fleurs,
Chanson Médiévale
Cécile Chaminade
Madrigal,
L'Anneau D'Argent,
Viens mon bien-Aimée
Garbriel Fauré
La bonne chanson:
Une Sainte en son Auréole,
Puisque L'Aube Grandit,
La Lune blanche luit dans le bois,
J'allais par des chemins perfides,
J'ai presque peur, en vérité,
Avant que tu ne t'en ailles,
Donc, ce sera par un clair Jour D'Eté
N'est-ce pas?
L'Hiver a Cessé
Total
63:32
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Märta Schéle -
Soprano
Olof Höjer - Piano
It all began with Gabriel
Fauré and la Bonne Chanson - an affection which later
extended itself to a deep love of all French art. Then one
day, I came across songs by the Swedish composer Helena
Munktell, active for many years in Paris. As I was also
drawn towards France, I felt a sense of sisterhood with her
work, across linguistic, temporal and national boundaries.
M.
Schéle
Märta
Schéle
is open to a wide
variety of musical contexts, appearing in theatrically
staged concerts, composer presentations, large and small
chamber recitals, symphonic works, improvisations and
churches.
Her repertoire is extensive ranging from the Baroque to the
avant-garde. She also sings with jazz ensembles. Märta
Schéle has toured at home and abroad, has performed
on radio and televison and has made many recordings. Her
disc "Life and Death" on the Proprius Label was awarded
"best vocal recording of the year" by the Swedish daily
Gothenburg Post. In 1983, she was appointed member of the
Royal Swedish Academy of Music. 1990, she recieived Litteris
et Artibus and the Gothenburg City gold medal, and in 1994
the Pro Arte et Scientia by Gothenburg University. She has a
teaching position at the School of Music, Gothenburg
University and also gives classes elsewhere.
Olof
Höjer "...has
long been considered to be a particularly discerning
interpreter, especially of unusual works for the piano. His
interpretations are of rarely heard pieces and composers,
and are often performed in unusual concert settings."
He "...is without doubt one of Swedens foremost
accompanists. His fingers are quick and his wrist limber; he
is never domineering, but at the same time his playing is
always meaningful because of the clarity and elegance of his
musical intentions; moreover, he is unique in his sensuous
feel for sound."
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