In 1935, while immersed in such peaceful and liquid surroundings, Georges Migot (1891 -1976) let flow from his pen one of his most distinctive works, the Trio ou Suite a trois. The immensity of the Touraine landscape
that surrounded him, indeed the permanent spectacle of nature itself, was a constant source of inspiration for this intensely spiritual man who, aside from being in the top ranks of French composers of the interwar period, practiced with equal refinement the arts of painting and poetry. Trained at the Paris Conservatoire, where he studied composition with Charles-Marie Widor, he was also exposed there to the historically-informed teachings of Vincent d'lndy, an influence that left an indelible mark
upon his musical thinking. In fact, Migot's music owes much of its richness to the aesthetic assimilation of a broad array of historical influences. From the supple melodic lines of Gregorian chant, the serene elegance of Renaissance polyphony, the contained lyricism of Rameau, or the fin-de-siecle harmonic language of composers like Cesar Franck, Gabriel Faure and Claude
Debussy, Migot's palette teems with the fertile heritage of France's musical past. Yet despite being open to such a profusion of styles, Migot was no advocate of neoclassical pastiche; though writing at a time when Stravinskian compositional techniques held great cultural prestige in France, Migot's myriad influences are craftily integrated within his own distinct musical manner, one that has prompted some commentators to refer to him (with deference to his colleagues in the “Croupe des
Six”) as the “Croup of One.”
…
Christopher Moore
TRIO HOCHELAGA
Anne Robert VIOLON | VIOLIN
Paul Marleyn VIOLONCELLE | CELLO
Stéphane Lemelin PIANO
Robert Cram FLÛTE | FLUTE
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GEORGES MIGOT (1891-1970)
Trio (ou Suite à trois) (1935)
1. I. Modéré
2. II. Allègre
3. III. Danse
4. IV. Final
Le Livre des danceries
POUR FLÛTE, VIOLON ET PIANO (1929).
5. I. Introduction
6. II. Gai
7. III. Religieux
8. IV. Conclusion
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