After rubbing your eyes and maybe even hitting your forehead with the palm of your hand a few times to convince yourself that, yes indeed, in fact a young pianist has chosen to make his concerto recording debut with the Tchaikovsky and Grieg concertos, go ahead and have a listen. Denis Kozhukhin, who took first prize at the 2010 Queen Elisabeth, here partners with the Berlin Radio Symphony Orchestra under Vassily Sinaisky. Out of repertory that has been celebrated, picked over and just about played to death over the course of almost a century and a half, they create magic.
Un matin de janvier 1313, Andréas Saint-Loup, dit l'Apothicaire, découvre dans sa boutique une pièce qu'il avait oubliée… Il comprend alors que jadis vivait ici une personne qui a soudainement disparu de toutes les mémoires.
L'Apothicaire, poursuivi par d'obscurs ennemis, accusé d'hérésie par le roi Philippe le Bel et l'Inquisiteur de France, décide de partir à la recherche de son propre passé, de Paris à Compostelle, jusqu'au mont Sinaï…
Assembled to mark the centenary of Henri Dutilleux (1916-2013), this collection of recordings, produced over a period of nearly 60 years, is unrivalled in its scope. Equally remarkable is its array of performers; among them are such dedicatees of the composer’s works as Mstislav Rostropovich, Renée Fleming, Seiji Ozawa and Paul Sacher. Quintessentially French, Dutilleux captured the imagination of audiences around the world with his iridescent, yet formally coherent scores, which engender narratives filled with memories and mystery.
In addition to the traditional pairing of the Debussy and Ravel string quartets, the Arcanto Quartett performs Henri Dutilleux's Ainsi la Nuit (1971-1976), a grouping that is becoming increasingly popular on recordings. These are absolutely secure, thoughtful, self-effacing readings of the Debussy and the Ravel. While the quartet doesn't bring particular new revelations to the pieces, the members play with nuanced sensitivity and impeccable musicianship. The haunted quiet they achieve in the first part of the third movement of the Debussy is especially impressive, as is the clarity of their sense of direction and unity in the final movement, the most difficult of the four to pull off. Similarly in the Ravel, the contrast between the serenity of the third movement and the raw athleticism of the fourth is attention-grabbing and invigorating.
Francis I, as a princely patron of the arts, realised that music was a very useful tool for his policy of prestige: Official music for great diplomatic events like the amazing musical ‘tournament’ between the Chapelle of the King of France and the Chapel Royal of Henry VIII of England at the Mass for the Field of the Cloth of Gold, reconstructed in this recording; but also more intimate music with the exceptionally subtle, refined and learned repertory to be heard in the monarch’s châteaux such as Chambord and Fontainebleau, performed by the finest singers and instrumentalists of the realm under the aegis of the Chambre du Roi. Here is a feast of previously unrecorded music for King Francis I, the symbol of a happy Renaissance.
" Fils présumé de Pierre III et de Catherine la Grande, Paul Ier (1754-1801) éprouve durant son règne, bref et calamiteux, l'irrésistible besoin de déplaire, comme d'autres éprouvent le besoin de séduire. Appelé à diriger la Russie, il n'a que dédain pour les Russes, leur langue et leurs traditions, alors qu'il proclame à tous son admiration sans bornes pour les disciplines et les mœurs prussiennes. …