Cyrille Dubois is unstoppable: after two albums dedicated to Liszt and the Boulanger sisters, both acclaimed by the critics, and a flamboyant complete set of Fauré songs, the tenor is back to his preferred repertoire, the French art-song. He reunites with his accomplice, pianist Tristan Raës, to bring the Bordeaux composer Louis Beydts (1895-1953) out of oblivion, as most of his pieces are recorded here for the first time. From these miniatures, Cyrille Dubois draws the sap of the musician's art. A pure product of French hedonism, it is refined and elegant, with a generous vocality but also daring, for Beydts forbids himself nothing. Echoes of jazz and light music, of Hahn or Fauré, polymodality and polytonality, his melodies traverse everything between fantasy, humor and contemplation with supreme freedom. By transporting us into this singular universe, Cyrille Dubois establishes himself as an invaluable performer of the repertoire and a pioneer of French music, with an uncommon mastery of the combination of word and music.
1 Beydts: D'ombre Et de Soleil II. Toi Qu'empourprait L'âtre D'hiver
2 Beydts: D'ombre Et de Soleil III. Dormez, Ami
3 Beydts: D'ombre Et de Soleil IV. Douce Plage Où Naquit Mon Âme
4 Beydts: D'ombre Et de Soleil V. L'hiver Bat la Vitre Et Le Toit
5 Beydts: D'ombre Et de Soleil VI. Iris, À Son Brillant Mouchoir
6 Beydts: D'ombre Et de Soleil VII. Le Temps Irrévocable a Fui
7 Beydts: D'ombre Et de Soleil VIII. Puisque Tes Jours Ne T'ont Laissé
8 Beydts: Six Ballades Françaises I. Le Marchand de Sable
9 Beydts: Six Ballades Françaises II. Les Petits Veaux D'haize
10 Ttes
11 Beydts: Six Ballades Françaises III. Le Regard Éternel Beydts: Six Ballades Françaises IV. La Corde
12 Beydts: Six Ballades Françaises V. Rencontre À la Fontaine
13 Beydts: Six Ballades Françaises VI. Si Le Bon Dieu L'avait Voulu
14 Beydts: Le Cœur Inutile I. La Saison Qui DÉVÊT Les Bois
15 Beydts: Le Cœur Inutile II. Ceux Que Nous Aimons
16 Beydts: Le Cœur Inutile III. Adonis
17 Beydts: Le Cœur Inutile IV. Les Dieux Que J'appelais
18 Beydts: Le Cœur Inutile V. Dans Les Ombres de Mon Âme
19 Beydts: Le Cœur Inutile VI. Après la Mortelle Aventure
20 Beydts: Quatre Odelettes I. Je N'ai Qu'un TRÈS Humble Jardin
21 Beydts: Quatre Odelettes II. Quelle Douceur Dans Mes Pensées
22 Beydts: Quatre Odelettes III. Auprès de Toute Fontaine
23 Beydts: Quatre Odelettes IV. Reprends la Route Du Bois Sombre
24 Beydts: Cinq Humoresques I. Mademoiselle Rose
25 Beydts: Cinq Humoresques II. À la Fontaine
26 Beydts: Cinq Humoresques III. Le Coquebin
27 Beydts: Cinq Humoresques IV. L'eau Claire
28 Beydts: Cinq Humoresques V. Bonjour, Monsieur
29 Beydts: Le Pont Mirabeau
30 Beydts: La Fontaine de Pitié
31 Beydts: Deux Mélodies II. Le Sylphe
32 Beydts: Chansons Pour Les Oiseaux I. La Colombe Poignardée
33 Beydts: Chansons Pour Les Oiseaux II. Le Petit Pigeon Bleu
34 Beydts: Chansons Pour Les Oiseaux III. L'oiseau Bleu
35 Beydts: Chansons Pour Les Oiseaux IV. Le Petit Serin en Cage
Cyrille Dubois is unstoppable: after two albums dedicated to Liszt and the Boulanger sisters, both acclaimed by the critics, and a flamboyant complete set of Fauré songs, the tenor is back to his preferred repertoire, the French art-song. He reunites with his accomplice, pianist Tristan Raës, to bring the Bordeaux composer Louis Beydts (1895-1953) out of oblivion, as most of his pieces are recorded here for the first time. From these miniatures, Cyrille Dubois draws the sap of the musician's art. A pure product of French hedonism, it is refined and elegant, with a generous vocality but also daring, for Beydts forbids himself nothing. Echoes of jazz and light music, of Hahn or Fauré, polymodality and polytonality, his melodies traverse everything between fantasy, humor and contemplation with supreme freedom. By transporting us into this singular universe, Cyrille Dubois establishes himself as an invaluable performer of the repertoire and a pioneer of French music, with an uncommon mastery of the combination of word and music.
