℗ 2020 Claves Records
Released November 27, 2020
Duration 1h 17m 55s
Record Label Claves Records
Catalogue No. CD 3023
Genre Classical (20th/21st Century)
 

Samuel Ducommun

Various Artists

Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
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La Moisson de Feu, oratorio d'après l'Apocalypse pour soprano, basse, choeur d'enfants, choeur mixte, orchestre et orgue, Op. 63a  
1.1
I. Louange
Samuel Ducommun; Nicolas Farine; Choeur d’enfants de l’Institut Jaques-Dalcroze, Genève; P'tit Chœur au Grand Coeur du Conservatoire de musique neuchâtelois; Choeurs et orchestre de la HEM Genève-Neuchâtel
11:02
1.2
II. Le Sixième sceau
Samuel Ducommun; Nicolas Farine; Choeur d’enfants de l’Institut Jaques-Dalcroze, Genève; P'tit Chœur au Grand Coeur du Conservatoire de musique neuchâtelois; Choeurs et orchestre de la HEM Genève-Neuchâtel
5:36
1.3
III. Le Livre prophétique
Samuel Ducommun; Mohamed Haidar; Nicolas Farine; Choeur d’enfants de l’Institut Jaques-Dalcroze, Genève; P'tit Chœur au Grand Coeur du Conservatoire de musique neuchâtelois; Choeurs et orchestre de la HEM Genève-Neuchâtel; Sarah Pagin
4:59
1.4
IV. Le Cavalier sanglant
Samuel Ducommun; Nicolas Farine; Choeur d’enfants de l’Institut Jaques-Dalcroze, Genève; Choeurs et orchestre de la HEM Genève-Neuchâtel; Mohamed Haidar
5:23
1.5
V. Le Retour éternel
Samuel Ducommun; Nicolas Farine; Choeur d’enfants de l’Institut Jaques-Dalcroze, Genève; P'tit Chœur au Grand Coeur du Conservatoire de musique neuchâtelois; Choeurs et orchestre de la HEM Genève-Neuchâtel; Sarah Pagin; Mohamed Haidar
10:56
Sinfonietta No. 2 pour orchestre à cordes, Op. 91a  
1.6
I. Moderato - Allegro energico
Samuel Ducommun; Jan Dobrzelewski; Orchestre de Chambre de Neuchâtel
6:25
1.7
II. Aria
Samuel Ducommun; Jan Dobrzelewski; Orchestre de Chambre de Neuchâtel
3:53
1.8
III. Allegro vivace
Samuel Ducommun; Jan Dobrzelewski; Orchestre de Chambre de Neuchâtel
2:19
1.9
IV. Allegro moderato (Fuga)
Samuel Ducommun; Jan Dobrzelewski; Orchestre de Chambre de Neuchâtel
3:14
Concertino pour trompette et orchestre, Op. 68b  
1.10
I. Allegro vivace
Samuel Ducommun; Victor Desarzens; Orchestre de Chambre de Lausanne; Jean-Pierre Mathez
3:42
1.11
II. Poco lento
Samuel Ducommun; Victor Desarzens; Orchestre de Chambre de Lausanne; Jean-Pierre Mathez
5:07
1.12
III. Allegro (Fuga)
Samuel Ducommun; Victor Desarzens; Orchestre de Chambre de Lausanne; Jean-Pierre Mathez
3:37
Concerto No. 2 pour orgue et orchestre à cordes, Op. 102  
1.13
I. Allegro
Samuel Ducommun; Jan Dobrzelewski; Orchestre du Conservatoire de Neuchâtel; Robert Märki
2:53
1.14
II. Poco lento-Cadenza
Samuel Ducommun; Jan Dobrzelewski; Orchestre du Conservatoire de Neuchâtel; Robert Märki
6:19
1.15
III. Allegro
Samuel Ducommun; Jan Dobrzelewski; Orchestre du Conservatoire de Neuchâtel; Robert Märki
2:30
Born in Peseux (Neuchâtel), Samuel Ducommun, a composer from Neuchâtel, studied organ first with Louis Kelterborn then Charles Faller, harmony with Charles Humbert, counterpoint and composition with Paul Benner. He later became a disciple of Marcel Dupré. Organist from 1934 in Corcelles (NE), then at the «Stadtkirche» in Biel, he moved to Neuchâtel in 1942 where he became organist at the Collegiate Church, singing teacher in schools, piano teacher at the Cantonal High School, and head of organ, harmony, analysis, counterpoint and composition classes at the Music Conservatory. As a concert artist, Samuel Ducommun has performed in many cities in Switzerland, France and Germany. In addition to the classical and romantic repertoire, his programmes have widely featured the music of the 20th century, which he has championed. As a composer from his teenage years, he produced a considerable body of work in which the organ is of course favoured, either alone or accompanying the voice or various instruments. Several religious and secular cantatas, symphonic or concertante works, and numerous chamber music scores involving various instrumental formations complete the catalogue of his works. The style and spirit of his compositions are of French inspiration, their architecture often calling upon classical forms (fugue, passacaglia, sonata form, for example). Loyal to tonal music, sometimes of modal expression, Samuel Ducommun employs polytonality or even atonality without any preconceived theory. He has managed to find his own personal musical language, which neither wants to imitate anyone nor deny his origins.
96 kHz / 24-bit PCM – Claves Records Studio Masters

Tracks 1-9 – 48 kHz / 20-bit PCM, mastered in 96 kHz / 24-bit Tracks 10-12, 15 – 44.1 kHz / 24-bit PCM, mastered in 96 kHz / 24-bit Tracks 13, 14 – 44.1 kHz / 20-bit PCM, mastered in 96 kHz / 24-bit
Track titlePeak (dB FS)RMS (dB FS)DR
Album average
Range of values
-2.96
-9.67 to -0.25
-22.23
-29.91 to -13.54
11
7 to 13
1
I. Louange
-0.82-21.0512
2
II. Le Sixième sceau
-1.65-20.8812
3
III. Le Livre prophétique
-3.45-25.6612
4
IV. Le Cavalier sanglant
-1.38-22.1211
5
V. Le Retour éternel
-1.56-22.9912
6
I. Moderato - Allegro energico
-5.44-26.4913
7
II. Aria
-9.67-29.9112
8
III. Allegro vivace
-5.44-26.2313
9
IV. Allegro moderato (Fuga)
-6.27-26.8913
10
I. Allegro vivace
-1.70-19.8011
11
II. Poco lento
-4.05-25.5012
12
III. Allegro (Fuga)
-1.83-20.2311
13
I. Allegro
-0.49-14.459
14
II. Poco lento-Cadenza
-0.44-17.659
15
III. Allegro
-0.25-13.547

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