Jérôme Fourque

“SATCHMOCRACY knocked me out from start to finish and listening to it was one of my most satisfying experiences in a very turbulent year. Instead of pretending it’s the 1920s, Jerome Etcheberry and company perform this music in the 2020s, keeping it fresh-sounding and moving forward. In such a contemporary, swinging setting, Louis Armstrong’s original trumpet lines jump out and hit the listener between the ears in exciting new ways, especially when scored for multiple instruments and when placed over consistently shifting rhythms. It’s further proof that every note Armstrong played will simultaneously remain hip and timeless, especially when presented the way it’s done on SATCHMOCRACY!”

It was in 1774 that Joseph Haydn had his first set of solo keyboard sonatas published and that Mozart first tackled the genre. The five sonatas presented here all date from 1773-1783, a decade that saw the fortepiano swiftly become the preferred medium for a new style of keyboard writing, to the detriment of the harpsichord. All that remained was to find the instrument to speak this new language. The late Eighteenth Century German piano on which Jérôme Hantaï performs offers us a chance to hear a unique, expressive, cantabile voice.

Francesco Cavalli (1602-1676) was a worthy successor to Monteverdi on the Venetian musical scene, and while his operas may not sustain the level of exalted musical inspiration and psychological depth of Monteverdi's, they come close enough to fully deserve the recognition they are beginning to receive. Like Monteverdi, Cavalli was a master dramatist, and his operas bristle with theatrical energy and vivid musical characterizations. L'Ormindo (1644), the first of his operas to be rediscovered (by Raymond Leppard, who conducted it at Glyndebourne in 1967), was written just two years after L'incoronazione di Poppea, and shares some of its attributes, most notably a remarkably expressive use of recitative, intriguing characters, and a dramatically arresting intermingling of comic and serious elements.

A most famous composer in London at the time of Haendel and a great protagonist of the Ospedali musicali in Venice, Nicola Antonio Porpora (1686-1768) is nevertheless forgotten gloomily of our musical culture. To the rare discographic recordings dedicated to his music, we can add this one, conducted magnificently by Jérôme Correas. (…) Correas interpretation is sensitive, vivid and it stands like a mirror of Porpora's vocal vuirtuosity ; this exaggerated virtuosity is here a natural and vital component of the score, fostering an atmosphere of fervent mysticism (…) that arouse emotions.

In the bicentenary of Paisiello’s death, Catania’s Bellini Theatre staged Fedra, a world premiere performance in modern times of this opera by the composer from Taranto. It was a musical and cultural operation of great interest, which saw the revival – based on the original manuscript and on various transcriptions – of a rich, complex score, and attracted the attention of the Italian and international critics. The French conductor Jérôme Correas, an authority in this repertoire, was on the podium. Fedra had only been performed once in the 20th century for a radio recording and had never been staged in our century before. That single radio recording, however valuable, is however incomplete and, unlike this edition, unfaithful, in many ways, to the original score.

After a first album as part of the harmonia nova collection, which resulted in a well-deserved Victoire de la Musique Classique (category New Instrumental Soloist), Bruno Philippe continues his path on the harmonia mundi label. This programme devoted to Rachmaninoff and the unfairly neglected Myaskovsky is a genuine technical and artistic challenge, which the young cellist has taken up in total harmony with his long term musical partner Jérôme Ducros. Be swept away by the swirling passions of these works, among the most romantic in Russian musical literature.

Giacomo Carissimi (1605-1674) celebrated his 400th birthday in 2005. Reason enough to pay tribute to this most important composer of the 17th century with a recording of some of his oratorios. Thanks to a very lively live recording of a concert with Jérome Correas and Les Paladins on Pan Classics, we now get to know five of his much admired oratorios.

Soprano Sandrine Piau's new project is dedicated to French baroque repertoire, offering a wide range of very beautiful arias by Rameau, Lully, Campra etc in a 100-year journey that mixes very famous music with little-know pieces, such as arias by Grétry or Sacchini > Sandrine Piau and Jérôme Correas, a former singer, founder and music director of Les Paladins, have worked together on a regular basis since their early careers, especially with William Christie.

Flutist Jerome Richardson (who switches to tenor on one of the five selections on this reissue) has long been underrated and has had relatively few opportunities to lead his own record dates – only four up to the present time, of which Midnight Oil was the first…

There is nothing left wanting in these performances. Hantaï and Verzier both display adroit virtuosity, possess warm tones but distinctive approaches, and share a telepathic sense of interplay, all excellent qualities in these intimate chamber works. Brother Pierre Hantaï on the keyboard sticks with them throughout, following them even in the most tempo rubato-saturated Sarabande. The lion's share of the pieces here are in the standard stylized Baroque dance forms, but Marais' expressive melodies, pungent harmonies, and highly individual take on the forms make each piece unique.