Feroce

The fifth symphony, which I have seen described as enigmatic and the most elusive of this composer's six essays in the medium, is the one that has enabled me to make the breakthrough into his music. It is a remarkable achievement that has absolutely nothing derivative in it that I can hear, so if I mention Gerhard for the convincing juxtaposition of linear ideas and orchestration and Ives for the multilayering of a marvellous orchestral sounds, it is only to underline the stature of this piece.

Gwangju, Corée du Sud, mai 1980. Après la féroce répression menée par la junte militaire contre le mouvement étudiant démocratique, un jeune garçon erre parmi les morgues improvisées de la ville, à la recherche de ses camarades. En réalité, c'est une âme en peine qui recherche son propre corps assassiné.
Man Booker International Prize 2016. …

Dès l'enfance, Cléo, Franco-Américaine fille d'universitaires, n'a qu'une obsession, devenir une chanteuse célèbre. Au fil des années, à la surprise de tous sauf d'elle-même, elle franchit tous les obstacles et devient une star mondiale, accumulant les millions de dollars, les villas à Los Angeles et les récompenses. Récit d'une ascension vers la gloire féroce, brutale et monstrueuse. …

Carl Maria von Weber's piano music, with the exception of Invitation to the Dance, is not nearly as well known as his operas, but it deserves more attention. Michael Endres makes a strong case for the music in this two-disc set. The most significant works, the four sonatas, are full of drama, colorful pianism, and lyrical melodies, particularly in Endres' hands. The sonatas are on a similar scale to those of Beethoven and Schubert, with the drama built of sharp contrasts in key, humor, and dynamics, and with beautiful, cantabile slow movements. Weber, like Beethoven, also took advantage of the size and scope of the piano's sound. Endres vividly brings out the drama and the brilliance of virtuosic passages, while maintaining a sense of refinement and ease with the music. The waltzes are particularly polished, but Endres' also recognizes their folk elements and gives them a wonderful energy and sparkle. The showpieces of Weber's piano works are the sets of variations, obviously written to impress audiences. Again, Endres handles the technical challenges easily and cleanly. In the second set here, the Variations on the aria "Vien'qua dorina bella," he is always aware that the theme was originally a vocal work, playing with song-like phrasing and coloring. The sound of the recording could be a little richer, but it doesn't hurt Endres superb performance.