Kemmler Pas Fait Pour Briller

Bach’s English Suites are entitled in a way that is as strange as it is hard to explain, at least at first glance. Contrary to what one might assume, these works are more closely related to French suites than to English music. The title is taken from the inscription “Fait pour les Anglois”, found on a manuscript owned by Bach's youngest son. In addition to an extensive prelude and four traditional dances – Allemande, Courante, Sarabande and Gigue – each suite also contains “gallantries”, lighter dances that were fashionable at the time. In these dance movements, grace and melody play together with a compositional artistry that elevates them far beyond incidental music for courtly dances. After the Partitas published by Passacaille in 2021 (PAS 1105), Lorenzo Ghielmi, one of the most renowned Bach interpreters of our day, now releases the English Suites, recorded on a harpsichord built by Detmar Hungelbert after an instrument by Michael Mietke (ca. 1710 in Berlin).

"Johnny Hallyday is back with his new album L'Attente, his 48th in more than 50 years of career. With producer Yvan Cassar & lyricist Miossec, Johnny offers a nostalgy-tinged album, melancholic, where love & time take an important place. 18 months passed between Johnny's previous album & L'Attente. Did he want to say so many things after the failure of Jamais Seul ? However, the artist doesn't stop here. He's going back. His 48th album is nostalgy-tinged, as we can listen to the title-track. "J'ai tout fait contre. J'ai rien fait pour. J'ai joué la montre. J'ai perdu mon tour" the rocker sings, talking about time…." (artists.letssingit.com)

Le clarinettiste Davide Bandieri et le pianiste Guillaume Hersperger ont souhaité mettre en avant l'esprit de rencontre, de partage et d'amitié qui caractérisait le "Groupe des Six". Réunissant Darius Milhaud (1892-1974), Arthur Honegger (1892-1955), Germaine Tailleferre (1892-1979), Georges Auric (1899-1983), Louis Durey (1888-1979) et Francis Poulenc (1899-1963) sous l'égide de Cocteau et sous l'influence spirituelle de Satie, il est le reflet d'une période artistique foisonnante dans le Paris des années 1920 faisant se rencontrer des artistes de différents milieux. Ce programme constitue l'intégrale de l'oeuvre pour clarinette des compositeurs issus du groupe (excepté Durey n'ayant pas écrit pour clarinette) sur une large période allant de 1918 à 1973.

Deux femmes et deux hommes : la parité est respectée pour ces quatre sonates à titre de Beethoven.