Il a Suffi Que Maman S’en Aille

Vous aimez l'exotisme, les cocotiers et la crème solaire…Embarquez pour cette terre éloignée…Ah, non! Mince! Finalement, vous retrouverez plutôt les embruns et le bon air marin! …

Si vous vous prenez la parole en réunion, en conférence ou en formation il y a de fortes chances pour que vous accompagniez votre intervention d'un PowerPoint. Malheureusement, 95% des PowerPoint sont réalisés sans aucune méthode. Le résultat est catastrophique et sans appel : l'attention de l'auditoire décline, l'orateur parle plus à son PowerPoint qu'à son public et les échanges disparaissent. …

Francesco Corti and il pomo d’oro continue their acclaimed series of Bach harpsichord concertos, now moving to the works for two harpsichords, BWV 1060-1062, together with Andrea Buccarella. Compared to the previous two instalments, the accompanying ensemble is small, allowing for maximal transparency and focus on the soloists. The greatest discographic asset of this album is Corti’s arrangement of Bach’s unfinished concerto for harpsichord, oboe and strings in D Minor, BWV 1059. In his extensive contribution to the booklet, Corti explains why and how he used parts of Cantata BWV 35 to complete the score. Emmanuel Laporte performs the solo oboe.

Bach’s harpsichord concertos are arguably the first in the history of music designed specifically for this instrument. Composing them, Bach aimed to adapt the string writing of Italian instrumental concertos to a keyboard instrument, while simultaneously enriching this style with typically-German traits such as counterpoint and motivic development. Francesco Corti and il pomo d’oro present concertos BWV 1052, 1053, 1055 and 1058 as the first volume of what should become a cycle spanning four albums. Corti has chosen to combine these four concertos for the full orchestral sound they call for, while later recordings in this series will have a chamber setting in comparison. For tempo choices and melodic variations, Corti has been inspired by treatises from Bach’s time, as well as the composer’s own written-out ornamentations.