Composer of 'L'

Aubert Lemeland (1932 - )

A French composer. Born at La Haye-du-Puits of Manche prefecture in Normandy Region on 19 th of December of 1932. The founder of L' ensemble de chambre Français. He was embedded with the Second World War in his childhood, which would mark him forever. After a musical training of cello and piano in Cherbourg, he lives in Paris from 1948. Lifelong member of the SACEM since 1987. He has awarded Charles Cros Grand Pirx de Disque with the recordings of Omaha and The songs of the dead soldiers in 1995. Biographical research of him is now ongoing. Additional information is welcome.

Main Works

Opera Laure: the letter with the red seal Laure (1994) {sop, tnr, btn, bass, orch}
Orchestral Symphony No. 1 Première symphonie (1975)
Memorial, Jubilee
Memorial. Dieppe 19-08-1942 (1993)
Symphony No.9 ineuvième symphonie (1997)
Symphony No.10, op.172 symphonie No.10 'letzte briefe aus Stalingrad' (1998) <narr, sop, orch>
Improvisational Symphonics, op.21 impromptus symphoniques (-)
Double Concerto double concerto (-) {strings}
State of Horizon No.3 état d'horizon No.3 (-)
Symphonies for Brass Instruments symphonies pour cuivres(-)
Elegy for the memory of Samuel Barber élégie à la mémoire de samuel Barber (-)
Concerto Violin Concerto op.128 concerto pour violon et orchestre (1985) {vln, orch}
Violin Concerto op.148 concerto pour violon et orchestre (1985) {vln, orch}
Funeral Concerto concerto funèbre (1992) {vln, orch}
Harp Concerto concerto pour harpe et orchestre (-) {hrp, orch}
Chamber Scantions scantions (1969) {ob}
Five Pieces op.20 cinq pièces (1970) {cl, p}

Nocturne Music, op.18 musique nocturne (1973) {fl, ob, cl, hrn, bssn}
Duo Variations, op.77 duo variations (1978) {fl, g}
Epitaph to John Coltrane epitaph to John Coltrane (1979) {sax, p}
Three Score Set op.46 three score set (-) {cl, p}
Ys opus 47 Ys(-) {g}
String Trio No.4, op.75 trio à cordes No.4 (-) {vln, vla, vc}
Noctuor, op.93 noctuor (-) {4sax}
Ballade, op.94 Ballade (-) {vib}
Seven Preludes, op.96 sept préludes (-) {vib}
Elegy élégie (-) {hrp}
Elegy élégie (-) {vln, vc}
Trois Movements trois mouvements (-) {2vln, vla, vc}
Night Vibes night vibes(-) {vib}
State of Horizon No.2 état d'horizon No.2(-) {4fl}
Five New Pieces cinq nouvelle pièces (-) {cl}
Distant Sound of Horn cor lointain (-) {hrn, p}
Pastoral pastorale (-)
Wind Quintet No.3 quintette à vent No.3 (-) {5winds}
Homage for Albert Roussel hommages à Albert Roussel (-) {g}
Epilogue Nocturne epilogue nocturne (-) {4sax}
Divertisment divertissement (-)
Quartet for Flute and String Trio quatuor pour flûte et trio à cordes (-) {fl, vln, vla, vc}
Piano Choral Variations, op.4 choral variations (1954/1959)
Sonatines, op.129 sonatines (-)
Summer Seas, op.131 marines d'été (-)
Ballades of Soldiers ballades du soldat, op. 171 (-)
Five Episodes
cinq episodes (-)
Songs American War Requiem American war requiem 'Normandy, 1944' (1991) {sop, choir, hrp, strings}
Songs of Dead Soldiers, op.156 chants pour les soldats morts (1993) {sop, hrp, recit, 2hrn, strings}
Epilogue 'In the Ebb of Slack Water', op. 164 à étale de basse-mer (1995) {sop, choir, orch}
'Time Landscapes, op.153
time landscapes (-) {sop, orch}
Airmen, op.159 airmen (-) {sop, recit, hrp, strings}
Ohama omaha (-) {choir}

Lemeland Disc Review

"Omaha / Chants pour les Soldats Morts / Concerto pour Harpe / Élégie à la Mémoire de Samuel Barber" (Skarbo : SK 2338)
Marc Tardue (cond) Carole Farley (sop) Francine Bessac (choir dir) Sabine Chefson (hrp) Cordes de l'Ensemble Instrumental de Grenoble
Skarbo shares large space for minor modern French composers such as Koechlin or Cras. The label has ardently committed to this minor composer Lemeland for the past 10 years. Thanks to the concern, we have large chances to come to know him for various genre of works. This is one of Skarbo recordings consisting of some vocal (with orchestra) works, a concerto and a choral music. Since the composer was born in 1932, we can recognize he belongs to the second generation of Dutilleux. That can explain his diction largely. Yes he sheres 'hypothermic high-fluidity' compositional diction that stems from latter-Debussy via Koechlin to Dutilleux or Ohana. That can be charaterized as the methodology to dismantle the tonality-based modern harmonization and melodies by highly-advanced modal expression. Therefore you do not have to worry about outright avant-garde taste which can be nomally found on the composers of his generation. I can not help admiring his profound orchestration technique which makes me reminding Ravel's great '3 Poems of Stephane Mallarme' with latter Debussian levigate orchestration. Although the engeneering of this CD is excellent and the performance of the ensemble is nice also, it is a bit regretable to quote the soprano's vocalism. Although her somewhat Dawn Upshaw-like voice tone sounds is bright and beautiful, and her sensory in pitch control is sure, her vocalism remains apprehension for a little bit when her voice cracks into a falsetto. Then, disjunct motions including requirements of falsetto makes her tone control instable. But, even though of the small defect, this disc provides a precious oppotunity with excellent-performance to get into this seriously underrated composer.

"Symphonie No.8 / In ricordo Arturo Toscanini / Battle Pieces / Symphonie No.9" (Skarbo : SKA DSK3046)
Marc Tardue (cond) Orquestra Nacional du Porto
(translation from japanese in progress)

"Airmen / Epilogue / Mémorial / Time Landscapes" (Skarbo : D SK 3945)
Marc tardue, José Serebrier (cond) Carole Farley (sop) Pamela Hunter (recit) Ensemble Instrumental de Grenoble : Staatsorchester Rheinische Philharmonie : Ensemble Vocal Francine Bessac
As one of series discs, this disc enclosed 4 orchestral and vocal pieces written in 1990. 'Airmen' and 'Time Landscape' recorded by Marc Tardue with Grenoble Ensemble are coupled with 'Memorial' and 'Epilogue' are by Jose Serebrier with Phein State Philharmonic. 'Airmen' with use of poems written by dead English air-force pilots, is formed by soprano narrator harp and strings. As you can easily recognized, this formation is almost the same as its sister-product 'Soldats morts'. In the same way, 'Epilogue' for chorus, soprano and strings, is extracted and arranged from his 'War requiem'. Both have proved his skillful treatment of strings. On the other hand, other tracks have similarity in terms of the inclusion of horn and wind intruments. The inclusion makes the compositions sound rhythmical and quasi-neo-classical in form. Even though of the difference, the sensitive melancholy in melodic and harmonic content still plays the dominant role in his musical diction, whereas his brass tratment makes us reminding of another prolific composer - Milhaud. The only regretable defeat of this disc is, therefore, the performance. The glorious Tardue-Grenoble combination demonstrates a clear contrast of the other one, especially in terms of the ability of orchestra. The clear distinction made us think that was no wonder the former combination has received Charles Cros disc award. I really wonder why the composer-side has chosen Rhein Philharmonic despite of their performance.

"Laure ou la Lettre au Cachet Rouge" (Skarbo : D SK 5981)
Marc Tardue (cond) Monika Brändle (sop) Richard Williams (tnr) Claudio Danuser (btn) Laurence Albert (bss) Staatsorchester Rheinische Philharmonie
Although is a prolific composer of around 200 opus, Lemeland has written almost no stage works. This is his first operatic work written in the fall of 1994. The original text was written and published on a journal 'Two Worlds Review' in 1833 entitled 'Servitude et Grandeur Militaires (Servant of war and great Militaries). 'Laurette' is a chapter of the novel. The story goes like this :
(translation in progress)

"Sinfonie Nr.10 Letzte Briefe aus Stalingrad / Memorial, Dieppe 19 août 1942" (Skarbo : DSK 2025)
Shao-Chia Lü, Jose Serebrier (cond) Pamela Hunter (narr) Svetlana Katchour (sop) Staatsorchester Rheinische Philharmonie
Aubert Lemeland is still active of recording as well as writting compsitions with Toulouse Capitole Orchestra. This CD, published in 2002, consists of his most recent works. It is amazing to recognize the number of the symphony went up to 10 (op. 172) already. If this prolific trend continues, the composer will be more voluminous than Koechlin. Undoubtfully, he has the largest possibilities to surpass Milhaud in terms of the amount of works. No.10 is a strange symphony in terms of the form (in 6 movements) and the instrumentation (a narrator,a soprano singer, with orchestra). It based on a collection of letters written by the soldiers of Nazis who were gone to Soviet frontline whereas the latter Memorial expresses the composer's condolence for the dead Canadian soldiers. The kind of motif represents his lifelong concept of composing (such as you can see in Omaha as well). It predict the quality of the including works also. His most admirably refined and lyric harmonic expressions can be enjoyed as you could in Omaha recording. If any firmly trained orchestra gave chance to the composition of being recorded, no one can complain the quality of this disc!! ...Yes, it is truly regretable that I should inform you he (or producer) mistakably selected the Marco-Polo orchestra for the recordings!! Even if the compser thought that it was meaningful to be performed by German because of the motif, such hypothesis explains nothing why they should be played by THE orchestra. Sonority of the strings makes us to confuse that we extended back to a half century ago in terms of capability of orchestras, especially the symphony No.10. It demonstrates the Maro-polo-loved orchestra is not wothy to describe the composer's delicate lines of strings.

"Concerto Funèbre / Concerto op. 128 / Concerto op. 148" (Skarbo : D SK 3922)
Emmanuel Plasson (cond) Marie-Annick Nicolas (vln) Orchestre de Chambre National de Toulouse
(translation from japanese in progress)

"Duo Variations / Fantasia pour Clarinette et Guitare / Ys / Hommage à Albert Roussel / Variations / Musique Nocturne pour Quintette à Vent / Scansions pour Haubois Seul / Cinq Pièces pour Clarinette Seule" (Skarbo : 1218.28)
Jean Dupouy (vla) Ramon de Herrera (g) Robert Fontaine (cl) Robert Casier (ob) : Quintette à Vent de Paris
By now (at this period in 2004), this CD of Lemeland's chamber works has been out of print regretably. The most striking distinction of the works is the application of classic guitars as the accompaniment instead of piano that we have accostomed to. It is easy to imagine that you are afraid that his chamber works are deeply influenced by flamenco (in other words, Spanish rooted language of chords). If so, I am pleased to inform you that your anxious is totally groundless. The moment you listen the calm and melancholic arpeggios, your primal image of guitar accompaniment should be flown out like a sand castle on a beach. If you have heard his orchestral pieces, you know that his arrangement of large ensemble works relies heavily on the strings section. This chamber works seems to provide a good reason why. For expressing his delicate orchestration by chamber instruments, the tone of piano sounds still too percussive and massive. By usage of the mellow and sensitively tones of guitar, modal and soft phrases of solo instrument can be expressive Lemeland's melancholic feature. It can also be described by referring to Poulenc's chamber works- analogy. If you can imagine the Poulenc's elegiac works without simple and understandable (popular) phrases, decomposed by highly skilled application of modes, such purer musical characteristics should resemble lemeland's chamber works. The viola won Budapest as well as the Clarinet won Geneva international competitions. with addition of oboe, the three performers are premier-prix alumnus of Paris Conservatory. Guitarist is the soloist of Paris Opera, whereas the wind quintet (for whom the quintet was written) consist of Paris Conservatory graduates. As you can easily guiess by seeing the personnel, the works are beautifully performed. The single regretable quotion is the recording performance of Wind Quintet. If the engineer mistakenly set the the peak level, he or she should retire the job. As Eric Dolphy mentioned, music flows out and never come back again once it comes out from the instrument.

"Sept Préludes Chantés / Les Nouvelles du Jour / Trois Marines / Saharinnes / Hoggar" (Integral : INT 221.111)
Jean-François Garneil (btn) Alain Prevost (g)
(translation from japanese in progress)

"Ballades du Soldat / Épilogue: À L'étale de Basse-Mer" (Skarbo : DSK 2041)
Jean-Pierre Ferey (p) Carole Farley (sop) Marc Tardue (cond) Ensemble Instrumentale de Grenoble : Ensemble Vocal Francine Bessac
(translation from japanese in progress)

(2003. 11. 13)