Ensemble Des Equilibres / Agnès Pyka / Laurent Wagschal BRAHMS AUJOURD'HUI...

 

BRAHMS AUJOURD'HUI...

Emmanuelle Bertrand LE VIOLONCELLE AU XXe SIÈCLE

Through these selected masterpieces of the repertoire for solo cello, Emmanuelle Bertrand invites us on a journey to the heart of languages of popular inspiration. When music takes over the idioms characteristic of each culture, pushing back the limits of instrumental technique, reshaping and dismantling the rules the better to express a specific identity, then the cello truly ‘speaks’ and takes us beyond frontiers, where the souls of a people take root.

This title was released for the first time in 2000/11.

Emmanuelle Bertrand DUTILLEUX - LIGETI - BACRI - CRUMB - HENZE

All credit to Emmanuelle Bertrand for choosing an all-20th-century programme for her first solo recital. Its content is as well varied as any, and, since the competition in the works by Crumb, Henze and Ligeti tends to be full-price, she starts with an in-built advantage.
Bertrand is a less seasoned player and a less consistently polished interpreter than Wolfgang Boettcher, whose recent disc, including Henze’s Serenade and Ligeti’s Sonata, is crowned by an imposing account of Dallapiccola’s Ciacona, intermezzo e adagio. She is nevertheless fully equal to the varied technical challenges of her chosen repertory, as her admirably uncontrived performance of George Crumb’s early Sonata shows. In general, Bertrand’s playing in Crumb and Ligeti is less consistently forceful than Pieter Wispelwey’s, and the recording – creditably – is less concerned to project her sound in intense close-up. While her versions of the Henze and the Ligeti are not as freely expressive as Boettcher’s, she impresses in Dutilleux’s brief but telling trilogy, and her advocacy of the Suite No 4 by Nicolas Bacri provides the disc with a substantial novelty.
Bacri (b 1961) is not, on this evidence, a composer of very distinctive personality. He relies on familiar, at times hackneyed, types of instrumental patterning and characterisation to fill out generously proportioned structures, and this 19-minute suite doesn’t really take wing until the last of its five movements. Nevertheless, there’s enough of interest on the disc as a whole to make me hope that more of Bertrand’s playing in the 20th (and 21st) century repertory will soon be made available.' (Gramophone)

Batiashvili / Bezaly / Pesola / Leleux NICOLAS BACRI Sturm und Drang

Concerto nostalgico “L’automne” and Concerto amoroso “Le printemps” are the first two panels of Bacri’s work-in-progress Les quatre saisons Op.80, a series of four concertos for oboe and other instruments. The third panel Concerto tenebroso “L’hiver” for oboe, violin and strings was first performed in January 2010. The first performance of the fourth panel Concerto luminoso “L’été” for oboe, violin, cello and strings is to take place in spring 2011.
Concerto amoroso “Le printemps” for oboe, violin and strings is in a single movement in which a long central Notturno is framed by two lively, rhythmically alert outer sections (Mosaïca and Mosaïca II). The outer sections display Neo-classical characteristics whereas the central Nocturne is at times quite intense. The scoring for oboe and cello imbues Concerto nostalgico “L’automne” for oboe, cello and strings with an appropriately autumnal colour. This, too, is in one single movement falling into four sections played without a break. The music unfolds seamlessly from the dark mood of the opening through various contrasting sections (Scherzo alla Fuga and Romanza) before reaching the beautiful, appeased epilogue.
Nicolas Bacri has composed quite a number of concertos or concertante works -some thirty of them up to now (2010). The Concerto for Flute and Orchestra is scored for fairly small orchestral forces (double woodwind, two horns, percussion and strings) and is in three movements. The first movement opens with a slow introduction leading into the main part of the movement Allegro moderato that nevertheless allows for a variety of moods. The second movement Estatico is a Nocturne of sorts - one with some very dark corners. The final movement opens with some energy, but moods vary again until the music reaches its conclusion in a night music à la Bartók in which it eventually thins away calmly.
The short Nocturne Op.90 for cello and strings is in a fairly straightforward arch-form with slow outer sections framing a more animated and tense central one. This compact work is - to my mind - a good example of Bacri’s music-making in that the music says all it has to say with not a single note wasted.
Nicolas Bacri has composed six symphonies so far and his Seventh Symphony will be premiered in autumn 2011. The Symphony No.4 “Sturm und Drang” Op.49 was written for the Orchestre de Picardie of which Bacri was composer-in-residence. The orchestra and its conductor Louis Langrée had dedicated a concert-cycle to “Sturm und Drang” compositions of the late-Classical era and wanted a new work in the same aesthetic. Bacri, however, wanted to write his own music while paying homage to some older beloved composers. The four movements of the Fourth Symphony are thus meant as homage to composers of the early 20th century (Richard Strauss, Stravinsky, Schoenberg and Weill respectively) although the music never directly quotes from or alludes to their music. The work as a whole is also a tribute to a number of other 20th century composers such as Ravel, Prokofiev and Walton. The Fourth Symphony is Bacri’s Classical Symphony paying homage to the musical past without a single hint of pastiche or parody.
One of the more endearing characteristics of Nicolas Bacri’s music is that he never outstretches or overworks his material thus achieving some remarkable concision. This is never at the expense of expression and communication. As early as 1983, when his music was still fairly adventurous, Bacri inscribed a phrase from Tristan Tzara on one of his scores: “I know that I carry melody within me and I am not afraid of it”. The works recorded here - as so much else in Bacri’s output - clearly “carry melody and are not afraid of it”.
All these performances are excellent and superbly recorded, and the whole - Martin Anderson’s detailed and well-informed insert notes included - is up to BIS’ best standards. This is a very fine release by any count. (Hubert Culot, MusicWeb International)