Ophélie Lieder et Mélodies Marianne Fiset soprano Louis-Philippe Marsolais cor | horn Michael McMahon piano ACD2 2628 HORN AND VOICE • A COMBINATION TO DISCOVER In the Baroque era, the combination of horn and voice was usually heard in hunting scenes in operas, such as those of Handel or Rameau.   Bach used the horn in several cantatas, and featured it in the majestic air for bass, Quoniam tu solus sanctus, of his B-Minor Mass.   In the Romantic period, composers and poets praised the magical use of the horn in, among other works, Weber's Oberon; and in his La bonne chanson, Verlaine wrote of being seduced by its note d'or (golden note).   It was quite natural, then, that melodists should be attracted by the richness of the horn's sonority, by its combination of the intimate and the picturesque. … GAETANO DONIZETTI (1797-1848)   1 • Dirti Addio (L'amor funesto) [ 6:19 ] RICHARD STRAUSS (1864-1949)   2 • Alphorn [4:24] HECTOR BERLIOZ (1803-1869)   3 • Le jeune pātre breton, op. 13 n° 4 [ 4:17 ] CHARLES GOUNOD (1818-1893)   4 • Le soir [6:45] FRANZ SCHUBERT (1797-1828)   5 • Auf dem Strom [ 9:40 ] DENIS GOUGEON (1951-)   6 • Ophélie [ 11:03 ] FRANZ LACHNER (1803-1890)   7 • Herbst, op.30 n° 1 [ 3:17 ] CARL GOTTLIEB REISSIGER (1798-1859) Vier Cesänge, op. 117   8 • Hornesruf [ 6:11 ]   9 • Des deutschen Schiffers Heimat [ 4:22 ] 10 • Erfüllte Ahnung [ 2:22 ] 11 • Abendständchen [ 4:36 ] FRANZ LACHNER 12 • Waldwärts, op.28 [ 3:31 ] ATMA Classique is distributed in Australia by Rockian Trading PO Box 44, Briar Hill, Vic, 3088, Australia Telephone +61 (0)3 9432 4149 ~ Facsimile +61 (0)3 9444 6879