In the Baroque period, there really was no such thing as an "orchestra" as we understand the term today. There were large collections of singers and players brought together for special occasions, but aside from those, an "orchestral" work was anything that required more than five or six players. Bach's harpsichord concertos, for example, can be performed by a couple of dozen string players plus the soloist, or with an accompaniment of one person per part, which is more or less what we get here. These small forces permit an unprecedented transparency of sound and sharpness of attack, even if some weight and body of tone necessarily get sacrificed. It's a perfectly legitimate way to play the music, however, and you won't find it better done than here.
Launched ten years ago by the saxo player Pierre Bertrand and the trumpeteer Nicolas Folmer, the Paris Jazz Big Band is extremely famous on the French Jazz scene with many awards like the Victoires du Jazz and Django d’Or. It has been mostly recognized for its creative repertoire and the orchestra has performed with prestigious singers like Diana Krall; Johnny Griffin, Richard Galliano or Michel Legrand. The aim of this new repertoire « Source(s) » was to follow the tracks of culture an d music from Africa, South Mediterranea and Latin America.
Steven Isserlis and Richard Egarr here assemble all the viola da gamba sonatas written by three composers born in the propitious year of 1685: one each by Handel and Domenico Scarlatti, and three by JS Bach. Isserlis plays them on the gamba’s modern cousin, the cello, and the microphone loves his playing, picking up all the nuances and scampering asides from his soft-spoken instrument which can sometimes get lost in big concert halls. Egarr on harpsichord matches Isserlis’s eloquence and rambunctious energy all the way. The dreamy, airy slow movement of Bach’s Sonata in G minor brings telling use of vibrato as Isserlis circles around Egarr, his playing at once idiomatic and soulful. An extra cellist reinforces the bass line in the Handel and Scarlatti, in which the composers give the harpsichordist only a framework; Egarr’s imaginative realisations ensure that even when Scarlatti is at his most repetitive, he is never dull.
Cet ouvrage, organisé en 3 volumes, est issu de la communauté française des chercheurs en intelligence artificielle (IA). Il a pour objectif de dresser un panorama des recherches effectuées en IA allant de travaux fondamentaux aux applications et aux frontières, en mettant l'accent tout autant sur les résultats obtenus que sur les problématiques actuelles…