Beautés Apologie Pierre Zaoul

Sixty-five years since Pierre Fournier first recorded for Decca, DG is proud to celebrate the artistry of this most distinguished of cellists and his wealth of recordings for Deutsche Grammophon, Decca and Philips – presented here together for the very first time in this 25-CD box set!

Exploring 20th-century repertoire – both acknowledged masterpieces and new discoveries – this 14-CD anthology reflects the diverse aesthetic strands of Pierre Boulez’s programming over the course of his ground-breaking and influential career. These Erato recordings, made between 1966 and 1992, feature composers otherwise absent from Boulez’s discography – Xenakis, Donatoni, Grisey, Dufourt, Ferneyhough, Harvey and Höller – and the first CD release of the interpretation of Stravinsky’s incantatory Les Soucoupes in the version for female voices and four horns.

Collecting five CDs for about the price of three, this set of Boulez recordings is without parallel among the conductor's new-music releases. Imagine getting Boulez's celebrated single CD of Luciano Berio's Sinfonia and Eindrücke and his equally impressive single CD of Arnold Schoenberg's Pelleas und Melisande and Variations for Orchestra, bundled with four pivotal Elliott Carter works, Sir Harrison Birtwistle's electrifying …AGM…, Gérard Grisey's Modulations, Iannis Xenakis's Jalons, Hugues Dufourt's Antiphysis, and Brian Ferneyhough's Funerailles, and you have an idea how far this set stretches.

Claudio Abbado’s youthful Beatle­cut marks the age of this film‚ still one of the better screen Barbieres if not absolutely the best. Jean­Pierre Ponnelle based it on his Scala stagings‚ but filmed it‚ as he always preferred‚ in studio and in lip­sync – more successfully than most. As a result‚ it looks and sounds very much fresher on DVD than contemp­orary videotapes.

Ambroise Thomas wrote this comic opera, which has little to do with A Midsummer Night's Dream; it includes Falstaff, Elizabeth I and Shakespeare all in a strange literary interaction. Thomas fused many of the operatic styles of his day in a skillfully written score. The piece was revived at Compiègne in 1994 to mark the opening of the Channel Tunnel. Noted director and producer Pierre Jourdan has been staging opera since 1968. In 1988, he founded the Théâtre Français de la Musique and the association Pour le Théâtre Impérial in the Théâtre Impérial de Compiègne. Every year, he directs and produces different lyric works with the mission to rediscover the French musical and lyrical repertoire from the post-baroque to today and to restore an authentic French style to the singers and the orchestras which accompany them. These productions have been triumphantly welcomed by the public and critics alike.

I discovered Rachmaninov’s ‘Vespers’ singing in a choir, and the work made a genuine emotional impact on me! This music gives off an impression of naturalness and ‘simplicity’, yet in fact its architecture is complex and innovative for its time in the quasi-orchestral treatment of the voices. I wanted to place the work in a liturgical context that I conceived by drawing my inspiration from the Orthodox ceremonies I have been lucky enough to attend in Russia and Romania. The special characteristic and the beauty of this Vigil service (which in the Orthodox churches includes both Vespers and Matins) is that it accompanies the prayers of the faithful from dusk until sunrise.