This final instalment in this complete recording of Gabriel Fauré's chamber music features his compositions for violin and piano. Eric Le Sage and Daishin Kashimoto, concertmaster of the Berlin Philharmonic Orchestra, give us a particularly convincing and moving interpretation of these intimist works, thanks to a complicity polished in the course of numerous collaborations in concert. Gabriel Fauré was 30 when he began his first violin sonata in the summer of 1875. Not until four decades later, when he was director of the Paris Conservatoire, would he get round to a second sonata.
A great Romantic journey Winner of Prix de l'Académie Charles Cros, this set brings together Robert Schumann's complete works for solo piano. This great cycle benefited from having been recorded in the unique acoustics of La Chaux-de-Fonds, Switzerland, by the same recording engineer, Jean-Marc Laisné. Sales of the 13 CDs comprising this set have exceeded 20,000 copies round the world. This complete recording is now acknowledged as a reference and, at the same time, an important step in the artistic life of pianist Eric le Sage.
Winner of Prix de l'Académie Charles Cros, this set brings together Robert Schumann's complete works for solo piano. This great cycle benefited from having been recorded in the unique acoustics of La Chaux-de-Fonds, Switzerland, by the same recording engineer, Jean-Marc Laisné.
Schumann's chamber compositions are undoubtedly among the most important European works of the nineteenth century. Robert Schumann (1810-1856) was the archetypal Romantic composer, a man with unbounded imagination, who mastered almost every genre of his time.
For the fourth and penultimate volume of his Fauré series, Eric Le Sage has been joined by Alexandre Tharaud, Emmanuel Pahud, and François Salque, long-standing accomplices, in order to record these pieces for four hands. Recipient of numerous prizes both in France and abroad, this complete Fauré series is already asserting itself as a reference for the interpretation of Gabriel Fauré’s chamber music with piano.
Andréi ne dit pas un mot de plus. Tous deux restaient silencieux, à l'affût du moindre bruit inhabituel, de la moindre vibration, torsion ou craquement susceptible de révéler la présence d'une autre entité en ces lieux isolés de tout, y compris de la lumière. Le silence fut d'abord total, exception faite du son ténu et régulier engendré par le mouvement vertical de la plate-forme. Ensuite vinrent de petits bruits sourds, mats, comme si quelque chose tapait sur les parois extérieures du tube, puis plus rien. De nouveau, le silence et le ronronnement de la machine. …