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Katia & Marielle Labèque, Chris Richards, London Symphony Orchestra, Sir Simon Rattle – NAZARENO! Bernstein, Stravinsky, Golijov (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 42:24 minutes | 740 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © LSO Live
Celebrating the union of classical and jazz, LSO Live’s latest release encapsulates the very best of the two genres with an irresistible selection of works by Bernstein, Stravinsky and Golijov, conducted by Sir Simon Rattle.
Argentinian tango and jazz course through Golijov’s vibrant Nazareno. Superstar piano duo Katia and Marielle Labèque are flanked by brass, percussion and cello in this special arrangement for two pianos and orchestra by Gonzalo Grau.
LSO Principal Clarinettist Chris Richards steps into the spotlight in Stravinsky’s Ebony Concerto. The work is an era-defining amalgamation of jazz and classical, reflecting back the variety of a rapidly changing world, at turns frenetic and agitated, mournful and bluesy. This fluidity extends into Bernstein’s Prelude, Fugue and Riffs—an exuberant display of contrasting musical ideas, harmoniously intertwined together.
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Katia & Marielle Labèque – Minimalist Dream House (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 02:09:15 minutes | 2,48 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)
To be musically avant-garde in the 1950s meant to be difficult. Not by the end of the 1960s. That decade saw a group of American beatniks overthrow the musical givens of postwar Europe. In a series of disobediently straightforward compositions La Monte Young, Terry Jennings, Terry Riley, Steve Reich and Philip Glass declared that music could be clear, honest, pretty and experimental. Turning their backs on the conventional centres of musical power, the earliest minimalist works got their first public audience in La Monte Young’s 1960-61 Chamber Street Series in Yoko Ono’s New York loft. Through the 1960s in art galleries and alternative spaces, the minimalists slowly demystified, democratised and Americanised European modernism. They rejected the angst (what Philip Glass would call “crazy creepy music”). They rejected the invisible games. They rejected the theatricality. “I don’t know any secrets of structure that you can’t hear,” wrote Steve Reich in his 1968 minimalist manifesto, Music as a Gradual Process. Minimalism claimed that there was enough interest in the sounding process itself and enough new territory to be explored in rhythmic patterning to sustain a work. If one removed the Baroque complications – the harmonic story-telling and thematic cleverness – that were obscuring the natural beauties of rhythm and sound, what would be revealed and discovered could provide classical music with a new lease of life. They were right. Minimalism was the last great musical revolution of the 20th century. And it became the most influential and successful ism of them all. In the spirit of the loft concerts we also present new works by David Chalmin, Raphael Seguinier and Nicola Tescari.
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Katia & Marielle Labèque – Minimalist Dream House (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 03:24:54 minutes | 3,76 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © KML Recordings
From American pioneers La Monte Young, Terry Riley, and Philip Glass all the way to Brian Eno, Sonic Youth, and Aphex Twin, the world’s reigning piano duo, along with guest artists, will present a bird’s eye survey of Minimalism from a keyboard perspective in three 40-minute sets. Come and go as you will. Just don’t miss it.
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Katia, Marielle Labèque – Love Stories (2017)
FLAC (tracks) 24 bit/48 kHz | Time – 01:16:02 minutes | 726 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Deutsche Grammophon (DG)
Shakespeare’s play Romeo and Juliet inspired many composers from Benda to Prokofiev through Berlioz, Gounod or Tchaikowsky and it is always a challenge for a musician to approach such a subject so full of history. With Star-Cross’d Lovers, French composer David Chalmin gives a new look at Shakespeare’s drama : a contemporary ballet choreographed by Yaman Okur, written for two pianos, electric guitar, electronics and drums. The musical dramaturgy is based on tension and resolution, violence and harmony, brutality and poetry, which correspond to the two antagonist themes of hatred and love. These contrasts enable a vast range of choreographic possibilities boosted by the energy exchanges between the seven breakdancers and the four musicians. The piece is tinged with minimalism, rock and electronics but also includes references to art music or ethnic music. It finds its unity in a cleverly combination of tradition and experimentalism. The clashes between the two rival gangs take place in a dark, oppressive and threatening musical world where tension and danger are constant. It could describe a sordid urban environment, perhaps that of a soulless suburb of a big city. The tragic end of the work is prefigured in the first prologue by an evolving melodic theme played by the pianos in the lower register that could be a modern version of a Wagnerian leitmotiv of curse or fate. Electronic roars and buzzes, howlings of electric guitar, aggressive hammerings of pianos, cold polyrhythmic combining motoric style, obssesive rave music but also African and Latino influences, contribute to this dystopian vision of the drama. The musical universe of the two famous lovers, which often tintinnabulates in the high register of the pianos, is instead full of delicacy and sweetness. David Chalmin gives his music a special charm drawing his inspiration from Ravelian limpidness, Schubertian lyricism and Chopinian poetry but also from styles close to jazz and pop music. David Chalmin’s 30-minute score was composed for Katia and Marielle Labèque. It was premiered at the Philharmonie de Paris in May 2015. Since then, it has been performed in Luzern, Dortmund, Montpellier Festival, Bordeaux, Paris (Théâtre du Châtelet), Napoli Festival, etc.
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