François Gresle

Francois Tusques - Piano Dazibao (1970) {Futura Records GER14 rel 2009}
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© 1970, 2009 Futura Records | GER14
Jazz / Modern Jazz / Avant-Garde Jazz / Piano

I will (maybe) be forgiven for this rough pun, but the circumstances provoked it a bit. I am listening to this record again, almost 40 years after its first publication, at the very moment when China is celebrating with great fanfare the sixtieth anniversary of the birth of its People's Republic. However, its title, "Dazibao" - the wall journals on which the Red Guards wrote their (sic) opinions - and its container (titles and comments by the pianist) fit perfectly into the context of the time which some saw , in the West, to be passionate about, and to support the cultural revolution in progress. Obviously, François Tusques, neither more nor less than many others, was mistaken about what this “revolution” really was and History was going to demonstrate to us, over time, the brutal nature of the regime of whoever joined the table. of the great dictators of the 20th century.

Les Mémoires d'un braqueur pas comme les autres. Célèbre compagnon d'évasion de Jacques Mesrine, François Besse se confie pour la première fois sur sa vie de cavales.
François Besse, dont le nom est resté associé à de grands épisodes du banditisme français, prend pour la première fois la plume pour raconter lui -même les événements qui ont marqué son existence. …

The Leçons de Ténèbres (Lessons of Darkness) became a favourite theme for musical compositions in the middle of the 17th century. Michel Lambert was the first French musician to compose a cycle in 1662, quickly followed by Charpentier and Lalande. But the most famous - and the first to have attracted the public of today and to be recorded - are those of François Couperin, dated 1714.

Three 20th-century orchestral scores, Bartók’s Two Pictures, Debussy’s Jeux and Stravinsky’s The Rite of Spring, all dating from 1910-13 and all linked (as the detailed CD booklet explains), are brought to life in the hands of two exceptional French pianists. The central interest is the ballet Jeux. One of the world’s outstanding Debussy interpreters, Jean-Efflam Bavouzet has added to his complete Chandos recordings with his own transcription for two pianos. Written late in Debussy’s life for Nijinsky, Jeux involves an emotionally erotic and harmonically daring game of tennis. Bavouzet and his well-matched partner, François-Fréderic Guy, play with nimble grace, capturing the works wit and mystery. This gripping album is dedicated to Pierre Boulez, guru and enabler, for his 90th birthday.

François Devienne (Joinville, January 31, 1759 - Charenton, September 5, 1803) was a French composer, nicknamed the "French Mozart '. François Devienne is the last of fourteen children of a manufacturer of saddles. He quickly comes into contact with music since, after learning several instruments at an early stage with his older brother, he becomes a child of ur hp in his hometown. This musical approach allows him to apply later in various Parisian ensembles as a soloist and member of orchestras and, better still, he joined in 1780 at the Kleber. He plays the flute (which he taught Felix Rault), bassoon (it began in 1788, bassoonist at the Théâtre de Monsieur then at the Paris Opera in 1793).

Before you play the first track of this disc, make sure you're in quiet surroundings and ready to listen closely. You'll hear a pure yet sensuous soprano voice slip gently out of the silence and sing a melody that manages to be haunting and virtuosic at the same time–only to be followed by a similar voice doing the same thing. The two voices coil around each other (with some gleaming suspensions) for a full minute before instruments join them. And that's just the beginning of this marvelous disc of motets by François Couperin, a composer better known for his keyboard and chamber music. Most of these pieces were written to accompany the Elevation of the Host (the most solemn moment of the Roman Catholic liturgy), so you won't hear much exuberance.

For her ninth recording project on Glossa, the Berlin-based American harpsichordist Mitzi Meyerson is joined by her Finnish colleagues Kreeta-Maria Kentala (violin) and Lauri Pulakka (cello). With this same setup which they are keen to call the Jones Band they have previously unearthed works for the label by Richard Jones and Giovanni Battista Somis. The new recording is centred on François Francur, a celebrated member of the Vingt-quatre Violons du Roi and of Le Concert Spirituel in France, and co- director, later in his career, with François Rebel, of the Paris Opéra. The ten violin sonatas on the present double album represent the complete Premier Livre de sonates à violon seul et basse continue, published in Paris in 1720.

Ce livre n'est pas un récit de plus parmi la multitude de ceux consacrés à François d'Assise. C'est bien autre chose… C'est une totale plongée dans son âme et au coeur du mystère qui l'a alimentée.