Emilie Simon La Marche De L'empereur

Markevitch's recordings of Berlioz's "Damnation of Faust" and "Harold in Italy."
"The names of the soloists may not be familiar to everyone nowadays (Richard Verreau, Michel Roux and Consuelo Rubio) but with the Lamoureux Orchestra and Elisabeth Brasseur Choir under Igor Markevitch, this is an unusually satisfying and exciting version of Berlioz's "dramatic legend"." (Gramophone Magazine)

In spite of the immense success he enjoyed in his lifetime, Sigismund Neukomm (born in Salzburg in 1778, died in Paris in 1858 at the age of eighty) is practically forgotten nowadays. Yet he left a catalogue of nearly two thousand works, including fifty masses and a number of oratorios and motets. Neukomm spent twenty years in the service of Prince Talleyrand, who commissioned him to write a requiem mass in memory of Louis XVI, guillotined in Paris on 21 January 1793.

Valery Gergiev turns in a generally fine Symphonie fantastique, one that really heats up in the last two movements, as any good performance must. The March to the Scaffold has an aptly menacing character, with very clearly voiced timpani and plenty of panache to the brass playing. The finale begins quite quickly and never lets up; it has the special Berliozian frenzy that so many versions never manage to capture. Elsewhere the results are a bit more variable…

Valery Gergiev turns in a generally fine Symphonie fantastique, one that really heats up in the last two movements, as any good performance must. The March to the Scaffold has an aptly menacing character, with very clearly voiced timpani and plenty of panache to the brass playing. The finale begins quite quickly and never lets up; it has the special Berliozian frenzy that so many versions never manage to capture. Elsewhere the results are a bit more variable…

In its day La scuola de’ gelosi (1778) was one of the best-known comic operas by Antonio Salieri (1750–1825), remaining a box-office hit for decades. All the more astonishing is the fact that it could sink into obscurity. Even Goethe was excited by this masterpiece: “The opera is the audience’s favourite, and the audience is right. It contains an astonishing richness and variety, and the subject is treated with the most exquisite taste. I was moved by every aria.”

In 1907 Florent Schmitt composed music to accompany a ‘mimodrame’ danced by Loïe Fuller, La Tragédie de Salomé . His score is bursting with colour, energy and voluptuousness – and also with oriental influences stemming from his travels to Morocco and Constantinople, where he discovered the howling dervishes. The final scene features the heart-rending ‘Chant d’Aïça’, an oriental melody sung by a soprano.

Before Versailles, the epicentre of power in the Kingdom of France was the Louvre, a genuine theatre of ceremonies where music was duty- bound to impress with its magnificence.

A travelling circus, an innocent prince in love with a waxwork and a lottery ticket to win a magnificent castle…

Born in Leuze (Hainaut) around 1430, Johannes Martini was initially active in Konstanz, then in Milan and Ferrara, where he died on 23 October 1497.