This first volume in a trilogy comprising the complete concertos and piano trios of Schumann brings together two late and unjustly neglected works. The instigators of the project, Isabelle Faust, Alexandre Melnikov and Jean-Guihen Queyras, champion their cause with a force of conviction and a choice of instruments that restore the delicate transparency and subtlety of their textures. From start to finish of this recording, the poet speaks . . .
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Leçons de Ténèbres
When Lalande left this vale of tears, his fame was at its height; between 1725 and 1730, he was the composer most frequently programmed in Paris. Audiences flocked to hear his motets, notably the three Leçons de Ténèbres and the Miserere for solo voice, written for the offices of Holy Week. Many composers had already produced settings of these texts in the France of the Sun King, making the Office of Tenebrae a genuine social event. True to the same aesthetic, Lalande exploited this art of ambiguity while deviating from tradition.view
Hindemith composed more than thirty sonatas for an incredibly diverse collection of instruments – all of which he was capable of playing himself. This fascinating selection of works written between 1935 and 1948 is played by some of today’s finest soloists, with the guiding spirit of Alexander Melnikov at the piano. Soloists include violinist Isabelle Faust, cellist Alexander Rudin, trumpeter Jeroen Berwaerts, trombonist Gérard Costes and Teunis van der Zwart playing the rarely heard althorn.
Akademie für Alte Musik Berlin
French and Italian Cantatas on Orfeo's theme
For her first recital disc on harmonia mundi, Sunhae Im has chosen four cantatas dealing with the myth of Orpheus. The Greek poet who had inspired the birth of modern tragedy at the end of the Quattrocento and of opera a century later was still a powerful stimulus to the composers of the late Baroque, such as Alessandro Scarlatti and Giambattista Pergolesi in Italy and in France Clérambault and Rameau.
Awards: LA CHOIX DE FRANCE MUSIQUEview