Christian-Pierre La Marca CELLO 360

 

CELLO 360

 

Christian-Pierre La Marca / Lise De La Salle PARIS-MOSCOU

There has always been a mutual fascination between France and Russia. And it continues today at the heart of this programme that we based on a unique coupling of works from the great repertoires of two superb composers of the same era: Gabriel Fauré and Sergei Rachmaninov. Following in the footsteps of the Romantic Movement begun by Chopin (who directly inspired Rachmaninov’s sonata) and Schumann (whose vocal oeuvre inspired Fauré), we are transported into a musical world at the very heart of an age, at the crossroads of late Romantic music and new experimentation with musical languages.

Our aim was to highlight the unique and different styles and languages created during the same period. This allowed us to underline the aspects of heritage and transmission, with Saint-Saëns, who taught Fauré who in turn would perpetuate a typically French tradition, or with S.Rachmaninov who, despite their occasional differences, was greatly inspired and influenced by P.I.Tchaikovsky, himself one of the guardians of Russian romanticism. Indeed the latter showed a special attachment to France by making frequent visits to Paris – he was a regular at the Café de la Paix – and his admiration for the work of another French composer, E.Lalo.

During my research, it became evident to me that I wanted to link the instrumental approach with a vocal approach according to writing and style. This is undoubtedly due to my numerous partnerships with great singers who continue to fascinate me. In my mind, the voice is the symbol of all that is natural and evident in a musical phrase. This has given rise to unique programmes (such as the previous albums – French melodies in “L’Heure Exquise” and sacred vocal pieces in “Cantus”). 

“Paris-Moscou”, an album devoted above all to the wide repertoire for cello and piano, also includes opera through transcriptions of French and Russian pieces of the same period. It is the result of a quest, which, through these musical gems, emphasizes both the tender lyricism and great virtuosity of the cello. (Christian-Pierre La Marca)

Christian-Pierre La Marca CANTUS

The originality of this album’s programme is its focus on famous sacred pieces transcribed for the warm and lyrical voice of the cello, an instrument whose tone is certainly one of the closest to the singing voice. The words of the Magnificat, Requiem, Stabat Mater or Ave Maria - well known in the repertoire of vocal sacred music - fade here to better reveal the development of musical emotion aroused by the melody itself, and the subtlety of the accompaniments (organ, viola, theorbo, voice) in reinforcing and supporting the expressiveness of the singing. Inspired by sacred texts, the melodies by Mozart, Bach, Vivaldi and Pergolesi reveal the strength and intensity of their expression, even without words, and reinforce the idea developed from the late eighteenth century that music, by its power of suggestion and evocation, goes beyond words to express the unspeakable, sometimes with simplicity and depth. From Taverner to Thierry Escaich, and also Allegri, Handel, Franck and Fauré, the recorded repertoire covers a period from the sixteenth to twenty-first century and includes some of the most important names in sacred music. (Presto Classical)

Christian-Pierre La Marca / Les Ambassadeurs / Alexis Kossenko CANTUS

If you are going to substitute the singing voice for an instrument what do you get? The warm and lyrical voice of the cello of course!

Christian-Pierre La Marca’s Cantus ticks all boxes when it comes to originality, having interpreted famous sacred pieces into a single-instruments voice - the cello. What is left is an understanding of the musical emotion displayed in these famous pieces, with his repertoire including the titles Mass, Stabat Mater and Agnus Dei.

Tackling on classics by Mozart, Bach and Pergolesi is a stupendous task, however Christian-Pierre successfully reveals the intensity of these melodies. In turn his album acts as a message, reinforcing the eighteenth century idea that music, by its power of proposition and submission, goes beyond words to express the unspeakable, often with clarity and extent.

If you admire the organ, viola and theorbo of sacred music than Cantus is for you, with Christian-Pierre’s repertoire covering the most important names in sacred music from the sixteenth to twenty-first century. Although you will not find me listening to Cantus I can still very much appreciate the depth of artistic expression and understanding that has gone into this album. (Taylor  Woodward)