Angèle Dubeau IMMERSION

 

IMMERSION

EINAUDI Undiscovered

UNDISCOVERED

 

Lavinia Meijer PASSAGGIO

PASSAGGIO

Cameron Crozman / Quatuor Molinari / Pentaèdre LUDOVICO EINAUDI Musique de chambre

MUSIQUE DE CHAMBRE

LUDOVICO EINAUDI 12 Songs from Home

                                                          12 SONGS FROM HOME

LUDOVICO EINAUDI Seven Days Walking - Day Seven

Einaudi’s journey reaches its end. The embers of the campfire gently glow, the cold wind sheds its bite, golden butterflies flutter in the early morning light, the low mist dissolves into memories. 

The pianist performs utterly alone, without strings, on this beautiful seventh and final volume, as he treads the frozen Bavarian landscape for the last time. 

The music hardly rises above a whisper, piano hammers barely striking, each movement tranquil, hushed. A closing trilogy of movements—“Cold Wind Var. 2”, “Low Mist Var. 2” and “Campfire Var. 2”—reflect on the natural world and its fragility as Einaudi descends back to civilisation once more.

LUDOVICO EINAUDI Seven Days Walking - Day Six

Seven Days Walking is divided into seven episodes, seven albums (Day One, Day Two, etc. until Day Seven), which will be released at monthly intervals.
Each episode is focused on several main themes, which are recurring in different form: seven variations following the same imaginary itinerary. Or the same itinerary, retraced in seven different moments.
“The idea first came to me as I was listening to the recordings of the first sessions: each version seemed to me to have its own personality, with subtleties so distinct from one another that I was unable to choose which I preferred. I associated everything with walking, with the experience of following the same routes over and over, discovering new details each time. And so in the end I decided to thread them all together in a sort of musical labyrinth, a little like stepping inside the twists and turns of the creative process, to understand how a musical idea can develop in multiple directions, and changing once again at the moment in which it is heard.”

Seven Days Walking DAY 6 was recorded at the Berliner Philharmonie Studio in Berlin

LUDOVICO EINAUDI Seven Days Walking - Day Five

“The recording process has always exhausted me. Since the first times, it turned into a challenge with yourself. You want to reach a certain perfection, but perfection does not exist….”

Seven Days Walking is divided into seven episodes, seven albums (Day One, Day Two, etc. until Day Seven), which will be released at monthly intervals.
Each episode is focused on several main themes, which are recurring in different form: seven variations following the same imaginary itinerary. Or the same itinerary, retraced in seven different moments.
“The idea first came to me as I was listening to the recordings of the first sessions: each version seemed to me to have its own personality, with subtleties so distinct from one another that I was unable to choose which I preferred. I associated everything with walking, with the experience of following the same routes over and over, discovering new details each time. And so in the end I decided to thread them all together in a sort of musical labyrinth, a little like stepping inside the twists and turns of the creative process, to understand how a musical idea can develop in multiple directions, and changing once again at the moment in which it is heard.”

Angèle Dubeau / La Pietà OVATION

“Music must not be the prerogative of the elite ; it belongs to everyone.” These words by Telemann have been my motto for a very long time. I like to think that music should be shared with as many people as possible, and it was in this spirit that I developed the concert program “One Last Time”, performed 33 times in Canada in the fall of 2017 and then on tour in Latin America in the winter of 2018. This album, recorded live at Quebec City’s Palais Montcalm in November 2017, features some of the most striking works that La Pietà has performed during its 21 years of existence. All of the selected works represent important moments I have experienced with my ensemble…

… when I first founded the orchestra, made up entirely of women, inspired by the young girls at the Ospedale de la Pietà, the Venice orphanage where music reigned supreme under the directorship of its famous maestro di coro Antonio Vivaldi…

… or playing George Enescu’s Romanian Rhapsody N^o 1, a work burgeoning with passion that reminds me of my studies in Bucharest, where I discovered how to make my violin sing, dance, cry, and speak.

… or more recently, a dozen years ago, when I created a series of musical portraits of contemporary composers whose signature styles engaged me so powerfully – artists such as Ludovico Einaudi, Philip Glass, and Max Richter, whose works on this album are now part of the modern music canon.

… or all the occasions when it has been my great privilege to share the stage with exceptional musicians and premiere new works. My precious partnerships with masters such as Canadian composer Srul Irving Glick and Japanese pianist and composer Joe Hisaishi – giants who have coloured my musical world – also appear on this album.

Music has been a part of my life for as long as I can remember. I have expressed myself through music, I have travelled through music, and it sustains me to this day.

I gave my first concert at the age of five, and 51 years later, I would like to say “thank you,” because after all these years, what fills me with joy is knowing that my music is there with you, both in your everyday life and in the special moments.

Thank you for all of these experiences. Enjoy! (Angèle Dubeau)

LUDOVICO EINAUDI Seven Days Walking - Day Four

Seven Days Walking ‘DAY 4’ includes 12 tracks. It has been recorded at the Air Studio in London.

“I was interested in exploring the music in a more independent and ongoing way,

like it was a long conversation”

LUDOVICO EINAUDI Seven Days Walking - Day Three

Seven Days Walking ‘DAY 3’ includes 12 tracks, 10 of them are variations of some pieces from the previous days and 2 of them are new, original tracks, “Full Moon” and “View From The Other Side”.

“The nicest season starts now. The Spring.

The nature is transforming day by day. Around here in two weeks it’ll be wonderful. Unfortunately I won’t be here…”

LUDOVICO EINAUDI Seven Days Walking - Day Two

Some things have their own hidden genesis

And just through this work of listening and analysis….I had almost 30 hours of music to listen back.

It’s like when you walk into a room filled with clutter and try to understand if there will be that one priceless piece that I need.

In order to find the right one you need to clean up and throw things away,

but always be careful cause you might throw away something important….

LUDOVICO EINAUDI Seven Days Walking - Day One

Seven Days Walking is the title of the new album by Ludovico Einaudi, set to be released on March 15, 2019, three and a half years after Elements and a triumphal world tour.

“I remember that in January 2018 I often went for long walks in the mountains, always following more or less the same trail.
It snowed heavily, and my thoughts roamed free inside the storm, where all shapes, stripped bare by the cold, lost their contours and colors.
Perhaps that feeling of extreme essence was the origin of this album.”

Seven Days Walking is divided into seven episodes, seven albums (Day One, Day Two, etc. until Day Seven), which will be released at monthly intervals.
Each episode is focused on several main themes, which are recurring in different form: seven variations following the same imaginary itinerary. Or the same itinerary, retraced in seven different moments.
“The idea first came to me as I was listening to the recordings of the first sessions: each version seemed to me to have its own personality, with subtleties so distinct from one another that I was unable to choose which I preferred. I associated everything with walking, with the experience of following the same routes over and over, discovering new details each time. And so in the end I decided to thread them all together in a sort of musical labyrinth, a little like stepping inside the twists and turns of the creative process, to understand how a musical idea can develop in multiple directions, and changing once again at the moment in which it is heard.”

Angèle Dubeau / La Pietà OVATION

Recorded live in concert, this album features works by Ludovico Einaudi, Max Richter, Philip Glass, Ennio Morricone, George Enescu, Joe Hisaichi, Camille Saint-Saens and Srul Irving Glick. Angèle Dubeau writes of this release: “’Music must not be the prerogative of the elite, it belongs to everyone.’ These words by Telemann have been my motto for a very long time. I like to think that music should be shared with as many people as possible, and it was in this spirit that I developed the concert program “One Last Time”, performed 33 times in Canada in the fall of 2017 and then on tour in Latin America in the winter of 2018. This album, recorded live at Quebec City’s Palais Montcalm in November 2017, features some of the most striking works that La Pietà has performed during its 21 years of existence. I gave my first concert at the age of five, and 51 years later, I would like to say “thank you,” because after all these years, what fills me with joy is knowing that my music is there with you, both in your everyday life and in the special moments. Thank you for all of these experiences. Enjoy!”

Mari Samuelsen / Håkon Samuelsen JAMES HORNER Pas de Deux

Pas de Deux is not a James Horner score for an unknown film but a freestanding composition, being billed as his first foray into classical music since the 1980s. Leaving aside the question of whether film scores qualify as classical music, it seems pretty clear that those who like Horner in general will like this work. Here and elsewhere, he does one thing well -- lush romanticism -- and does it very, very well. His economy of gesture, which makes one wonder why neutral arpeggios are having such an emotional impact, is fully in evidence here, and the configuration of forces, with lots to do for the two soloists, produces film score-like textures. The Norwegian violin-and-cello duo of Mari and Håkon Samuelson commissioned Pas de Deux, and though it is being promoted as the first major double concerto for violin and cello since Brahms, Horner himself has described the piece as a composition for violin and cello with orchestral accompaniment rather than as a true concerto. For all that, Pas de Deux does not really resemble Horner's film scores musically. It has elements that suggests what might have happened had Vaughan Williams somehow lived long enough to become enamored of minimalism, and it shows that Horner has been keenly aware of contemporary crossover directions. The work is performed here by the Samuelsens and the Royal Liverpool Philharmonic under Vasily Petrenko, the forces that premiered the work in 2014, and it's safe to say that their work reflects the composer's intentions. The album is filled out with works by Arvo Pärt (the protean Fratres), Giovanni Sollima, and Ludovico Einaudi, whose Divenire also features the violin-cello combination. Horner can hold his own with any of them, and listeners who imagine sun-drenched meadows while listening to Pas de Deux will have a very good time with it. (James Manheim)

Olivia Belli LUDOVICO EINAUDI Stanze

It is said that in 1992 when the BBC Radio 3 broadcasted Stanze in the harp version, the phones of the radio station were buzzing with callers asking for the name of the composer. Since then the fame of Stanze and of Ludovico Einaudi has continued to grow. 

This is not surprising if we consider the appeal and communicative spirit of these pieces. Even today they represent a model for the post-classic genre, still loved and imitated, which Einaudi - uncontested maestro - was able to imprint with an all Italian original and refined tenor. 

After 25 years from the first recording, I present Stanze, here for the first time, in the original piano version composed by Einaudi himself. The score, published by Ricordi in 1992, is made up of 14 numbers: two less than the 16 of the harp recording. Calmo and Attesa are in fact missing. All the other ones are almost the same, just a few changes due to the dissimilar techniques of the two instruments. Only one, Moto perpetuo, in the piano version is so completely dif- ferent and much longer (12 pages versus 4 of the harp), as to be considered a new one. 

Stanze was the ancient name of the strofe in the Canzone, the first Italian poetic form. Stanza means room. Dante Alighieri defined the poetic meaning of stanza as “dimora capace e ricettacolo di tutta l’arte” [a capacious storehouse or receptacle for the art in its entirety], suggesting the place, real or unreal, where the artist isolates himself to think, to collect strength and find the words (or notes) to create. 

Actually we all have a stanza where we easily find our inner self. It can be a place in our home where, alas at the end of the day, we retire to listen to some music or read a book; it could be our car cabin, or a train compartment, where, while the landscape flies past, we think back on the past, dream of our future: it can even be just a space in our head, a place not in a place, where we stand alone in front of ourselves. 

Even though, as the composer affirms, there is not a general idea that unifes the pieces of this album, they are all conceived in the same stanza, in that unique place which offers to the artist the peace of loneliness and meditation.