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Paul Meyer, Magali Mosnier, Pierre Génisson, Jean-François Verdier, Orchestre Victor Hugo – Crystal Palace (2022)
FLAC (tracks) 24 bit/44,1 kHz | Time – 53:51 minutes | 525 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Indésens
Paul Meyer is one of France’s leading clarinetists, with a strong commitment to both contemporary music and neglected historical repertory. Meyer is also in demand as a chamber player. Meyer was born in Mulhouse, France, on March 5, 1965. He studied clarinet as a child and then entered the Mulhouse Conservatory. Showing talent there, he made his debut with the Symphony Orchestra of the Rhine at age 13 and then moved on to the Paris Conservatory the following year.
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Sandrine Piau, Orchestre Victor Hugo & Jean-François Verdier – Reflet (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 57:03 minutes | 970 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
“Clair Obscur (Alpha 727), dedicated to German lieder with orchestra, explored the antagonism between light and shadow. Reflet conjures up the nuances and transparencies of French melodies. There is in reflection the idea of an echo, the shadow of a disquieting double, of a plural, diffracted sparkle… A clash of deceptive mirages, a kaleidoscope of senses and flashes of light, it interweaves in strange parallels the score of our lives, adorned with gold and illusions”, writes Sandrine Piau. Berlioz, Gauthier, Britten, Hugo, Verlaine, Baudelaire, Duparc, Koechlin, Ravel, Mallarme… the encounters between these composers and poets “create in me a firework display of colours and shimmers”, concludes the French soprano, who is making her 14th recording for Alpha Classics.
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Sandrine Piau, Orchestre Victor Hugo & Jean-François Verdier – Clair-Obscur (2021)
FLAC (tracks) 24 bit/48 kHz | Time – 50:42 minutes | 478 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Alpha Classics
‘The dreamer! That double of our existence, that chiaroscuro of the thinking being’, wrote Gaston Bachelard in 1961. ‘The old is dying, the new cannot be born, and in that chiaroscuro, monsters appear’, adds Antonio Gramsci. Sandrine Piau has chosen to use these two quotations as an epigraph to her new recording: ‘My family and friends know about this obsession that never leaves me completely. The antagonism between light and darkness. The chiaroscuro, the space in between…’ This programme, recorded with the Orchestre Victor Hugo under its conductor Jean-François Verdier, who is also principal clarinettist of the Paris Opéra, travels between the chilly Rhenish forest of Waldgespräch, a ballad by Zemlinsky composed for soprano and small ensemble in 1895, the night of the first of Berg’s Seven Early Songs (1905-08), and the sunlight of Richard Strauss’s Morgen, which are followed by the Four Last Songs, composed in 1948, the first two of which, Frühling and September (evoking spring and autumn respectively) are also, as Sandrine Piau concludes, ‘the seasons of life’.
Read more![Baptiste Trotignon, Orchestre Victor Hugo,Jean-François Verdier - Anima (2021) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/01/27/wyfckp3q7ydgc_600.jpg?resize=500%2C500&ssl=1)
Baptiste Trotignon, Orchestre Victor Hugo,Jean-François Verdier – Anima (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 55:27 minutes | 1000 MB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © Alpha Classics
An eminent ambassador of the ‘French touch’ in jazz and winner of many awards (Django-Reinhardt, Victoires du Jazz, Django d’Or, SACEM jazz awards) – Baptiste Trotignon has been composing for symphony orchestras and classical musicians for several years. The music on this album is not ‘symphonic jazz’, says Trotignon, ‘but you can hear the sounds of the Afro-American musical language, whether in the harmonies or in the very motoric rhythms that are always in motion (dances, toccatas, grooves)’. There are three pieces on the programme: Anima, the most ambitious work he has written to date, not only in terms of length but also in terms of orchestration, density ‘and a much stronger desire to make the orchestra sing’; Hiatus et Turbulences, his very first piece with orchestra; and finally L’air de rien, a lighter piece which ends with a tango, and on which he himself plays the piano and adds improvised sections.
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