D'Indy - Diptyque Méditerranéen, Op 87.

Luxembourg Philharmonic Orchestra - Emmanuel Krivine
I do not own the score or the recording. If yt adds advertising it is for compensate copyrights. All income go to the artists.
-------------------------------------------------------------------------------------------------------
Description by Adrian Corleonis (ALLMUSIC) :
"If the effervescent Poème des rivages (1919-1921) marked a turning point in d'Indy's life -- a second marriage to the much younger Caroline Janson, to whom it is dedicated -- it also embodied a new lightness and transparency in which his omnicompetent mastery was no longer the primary feature but suddenly at the service of a joyous spontaneity. Overflowing in a handful of remarkable chamber works dotting the latter 1920s, this rejuvenation remained intimately associated with the Mediterranean, overlooking which d'Indy built a house at Agay, on the Côte d'Azur, after the war. The Poème des rivages is frankly pictorial -- perhaps a belated "answer" to Debussy's La Mer -- and the Diptyque méditerranéen, composed between September 16, 1925, and July 16, 1926, is of the same genre but quite different in feeling and import. D'Indy was 75 years old when it was completed and the serenity suffusing the former work had taken a contemplative turn -- the playfulness muted, the colors deeper and more somber. The scene is the play of sunlight over the sea along the coast of Esterel, but the vivid pictorialism of the Poème has given way to a calm watchfulness laced with valediction -- the voice of a man facing ultimates. Waves, wind, cicadas have become parts of an eternal moment, and the sea the image of the cosmic All, the bourne of the human voyage rising with the sun from the starry horizon in the long crescendo of "Soleil matinal," rippled with magic but inexorable, and mirrored in the decrescendo of its companion piece, "Soleil vespéral," as the sun disappears, nature falls asleep, and the stars reappear. D'Indy's biographer, Léon Vallas, noted the "perfect symmetry" of these two great frescoes and the retrograde movement of the "Soleil matinal"'s principal theme, the sun theme, in the "Soleil vespéral" movement, though the use of this scholastic device is hardly the mechanical procedure suggested but a potent evocation of living changingness and ultimate extinction. The sense of life at its ripest rendered in the Jour d'été à la montagne (1905), to which the Diptyque méditerranéen is a late complement, an echoing return, is attenuated in a loving, lingering acceptance bordering on resignation. Vallas heard in it "an austere religious sense which contrasts with the picturesque character of the [Diptyque méditerranéen] as a whole: a somewhat disturbing impression, provoked by the alternation of precise illustration with accents of mystic solemnity...." It was first heard at the Société des Concerts du Conservatoire December 5, 1926. "
-----------------------------------------------------------------------------------------------------
1.- Soleil matinal : 0:00
2.- Soleil vespéral : 7:36
-----------------------------------------------------------------------------------------------------
- • Poeme des rivages, Op....
- www.allmusic.com/composition/...
----------------------------------------------------------------------------------------------------