Le Zin Dans la Maison

Pour son 3ème album, le chemin de la maison, Emma Daumas a choisi d'écrire son histoire et de s'impliquer comme jamais. En plus de s'être remise à l'écriture et la composition pour préparer les 12 titres de ce nouvel opus, Emma s'est entourée d'intervenants de qualité : Marcel Kanche (auteur pour Bashung, M, Vanessa Paradis) qui lui a écrit la ballade douce amère "Neverland", Peter Von Poehl (ex-guitariste d'AS Dragon et producteur du dernier Vincent Delerm) pour la composition de "Lipstick et Rimmel" ou encore Mickaël Furnon (leader de Mickey 3D devenu Mick est tout seul) : au-delà de l'écriture, ce fût une vraie rencontre entre les deux artistes.

Sandrine Piau and Véronique Gens have a longstanding rapport and dreamed of making a recording together. Here they pay tribute to two singers who, like them, were born within a year of each other, Mme Dugazon (1755-1821) and Mme Saint-Huberty (1756-1812): both enjoyed triumphant careers in Paris, inspiring numerous librettists and composers. Gluck even nicknamed Saint-Huberty ‘Madamela- Ressource’, while ‘a Dugazon’ became a generic name for the roles of naïve girls in love, and later of comical mothers. Rivals? They very likely were, given the quarrelsome spirit of the operatic world of the time, even if they never crossed paths on stage.

Sandrine Piau and Véronique Gens have a longstanding rapport and dreamed of making a recording together. Here they pay tribute to two singers who, like them, were born within a year of each other, Mme Dugazon (1755-1821) and Mme Saint-Huberty (1756-1812): both enjoyed triumphant careers in Paris, inspiring numerous librettists and composers. Gluck even nicknamed Saint-Huberty ‘Madamela- Ressource’, while ‘a Dugazon’ became a generic name for the roles of naïve girls in love, and later of comical mothers. Rivals? They very likely were, given the quarrelsome spirit of the operatic world of the time, even if they never crossed paths on stage.

Thanks to Julien Chauvin and his ensemble La Loge, the programs of the Concert Spirituel’s evenings in the late 18th century Paris come back to life. The so called Haydn’s “symphonies parisiennes” are the core of their musical project which also features contemporary composers, some of them are still unknown.

Julien Chauvin and Le Concert de la Loge join Alpha and launch a new cycle devoted to Mozart. This project is a natural continuation of Julien Chauvin’s work of rediscovery focusing on the interpretation of the music of Haydn and his contemporaries in Paris in the late eighteenth century. The first recording assembles the majestic and grandiose Symphony no.41 in C major, known as the Jupiter, the Violin Concerto no.3 in G major and the Overture to Le nozze di Figaro. Julien Chauvin is, of course, the soloist in the violin concerto and, with his Concert de la Loge (which is no longer ‘Olympique’, since the French National Olympic Sports Committee forced the ensemble to amputate its name in 2016, despite the fact that it dates from…1782), they embark on a Mozartian marathon that promises to be electrifying!

More than 300 years after Antonio Vivaldi composed The Four Seasons , the most famous work in the history of music is still as lively and invigorating as ever. Now Le Concert de la Loge has recorded this Baroque treasure with its founder and director, the violinist Julien Chauvin, as soloist. For the occasion, the Château de Versailles has loaned him an exceptional instrument: a Neapolitan violin by Nicola Gagliano, adorned with fleur-de-lys and inlaid decorations. This instrument, which was played by Yehudi Menuhin in the 1970s, comes from the ‘collection de Madame Adélaïde’, named after one of Louis XV’s daughters. It has not left the Château for almost a century and is in a perfect state of preservation. The main work is complemented by Vivaldi’s no less celebrated ‘La Follia’ and an aria that is now famous in its own right, ‘Sovvente il sole’ from Andromeda liberata , the score of which was discovered in Venice in 2002. It is performed here by the countertenor Paul-Antoine Bénos-Djian.

Pergolesi’s Stabat Mater has enjoyed enormous fame ever since the eighteenth century – Rousseau called its first movement ‘the most perfect and touching that has ever come from the pen of any composer’. There were many arrangements of the work, by Bach or Hiller among others. It was performed more than eighty times at the Concert Spirituel in Paris between 1753 and 1790, in multiple versions, probably also with the participation of a choir. After consulting several manuscripts and editions held at the Bibliothèque Nationale de France, Julien Chauvin has chosen to record it with soprano and mezzo soloists (the equivalent of the French dessus and bas-dessus) and a two-part children’s choir: ‘The choir can play a real role in the narration of so powerful and poignant a text’, he says.

The Haydn series continues with the Paris Symphony no 87. Julien Chauvin and his orchestra keep shaking us up with historical instruments listening Haydn’s works and several other forgotten scores from the same period. All of them were commissioned for the Concert de la Loge Olympique - ancestor and model for Julien Chauvin and his musicians - and all of them sank into oblivion during the 19th century, except for Haydn’s symphonies. The release offers an opportunity to experience some rare works of Grétry, Lemoyne and Ragué and to revive the success that they once knew.

This tenth volume of violin concertos marks the return of Julien Chauvin and his Concert de la Loge to the Vivaldi Edition, with works linked to Pisendel, a major musical figure in the court of Dresden in the 18th century. Julien Chauvin and his Concert de la Loge released a hugely successful volume of Vivaldi concertos with a theatrical theme in 2020. In this new album they perform works focusing on Johann Georg Pisendel (1687-1755), konzertmeister at the Dresden Court chapel, and pupil and friend of Vivaldi, who played a key role in the popularity of the Red Priest's music in Dresden.