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Tedi Papavrami, Orchestre Philharmonique du Luxembourg, Emmanuel Krivine – Bartók: Violin Concerto No. 2 in B Major, Sz. 112 & Concerto for Orchestra, Sz. 116 (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 01:16:14 minutes | 1,31 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
After two first recordings released by Zig-Zag Territoires and devoted to Ravel, Mussorgsky and Rimsky-Korsakov, Emmanuel Krivine and the Luxembourg Philharmonic Orchestra devote this CD to two emblematic works from the end of Bartók’s life: the Violin Concerto No.2, first performed in 1939, and the Concerto for Orchestra, premiered in 1944. These are absolutely major works both in Bartók’s catalogue and from this period in the history of music, and are, moreover, close to the universe of Emmanuel Krivine. For the Violin Concerto, it is Tedi Papavrami who was invited by both the Orchestra and by Zig-Zag Territoires. Let us recall the astonishing recording that Tedi Papavrami recently made of Eugène Ysaÿe’s complete violin sonatas for this label.
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Bertrand Chamayou, Orchestre National de France, Emmanuel Krivine – Saint-Saëns: Piano Concertos Nos 2, 5 & Piano Works (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:17:50 minutes | 1,23 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
Following his award-winning survey of Ravel’s complete solo piano works, Bertrand Chamayou takes on some of the most brilliant yet fiendishly virtuosic music in the French Romantic repertoire on his new Saint-Saëns album, drawing together the two most famous of the composer-pianist’s five piano concertos – the epic No.2 and the irresistibly exotic No.5 ‘The Egyptian’ – alongside a bouquet of lesser-known solo pieces and études that will delight pianophiles. These include the effervescent yet notoriously difficult Étude en forme de Valse with its breathtaking bravura finale, and the entrancing Les Cloches de Las Palmas inspired by the bells Saint-Saëns heard ringing out in the Canary Islands. ‘I’m always charmed by Saint-Saëns,’ says Chamayou. ‘There’s an attraction to the exotic, the bizarre, sensual fantasy, that’s very curious for a composer that we think of as so academic. And there’s a real sense of voyage in the music of Saint-Saëns that I find fascinating.’ He is joined by the Orchestre National de France and its formidable conductor Emmanuel Krivine for an album that promises fireworks, champagne and just a few puffs of opium.
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Bertrand Chamayou, Emmanuel Krivine – Saint-Saëns: Piano Concertos Nos 2, 5 & Piano Works (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:17:50 minutes | 1,23 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
Beyond their brilliant virtuosity and craftsmanship, Camille Saint-Saëns’s epic Piano Concerto No. 2 and irresistibly exotic No.5 (‘Egyptian’) invite listeners on a riveting and richly imaginative journey. Hailed ‘the new French prince of the piano’ (Diapason), Bertrand Chamayou also reveals a more intimate side to the great composer-pianist, exploring the hidden charm and secret sensuality of his rarely-heard etudes and solo piano miniatures.
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Emmanuel Krivine – Debussy: La Mer & Image (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 01:01:14 minutes | 1,07 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Warner Classics
Emmanuel Krivine’s sympathy for French music has been well documented for a while, as evidenced by his recordings with the Orchestre National de Lyon and the Philharmonie Luxembourg, two symphonic orchestras he beautifully directed. Presented here is his first album with the Orchestre National de France, where he has been art director since 2017. La Mer and Images pour orchestre make up, along with Prélude à l’après-midi d’un faune, Jeux and the three Nocturnes, the backbone of Debussy’s orchestral work. It presents an imaginary realm with distant prospects, a very refined harmony and an exploration of sounds that often results in difficult issues for conductors, who are at risk of drowning in their search for colour to the detriment of the overall structure, because as impressionist as it may be, Debussy’s music is nonetheless written with tremendous rigour. But Emmanuel Krivine and his musicians skilfully avoid these pitfalls and favour lyricism with an orchestral opulence of stunning sensuality.
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