le Paul

C'est à partir d'un “Avertissement” de Marin Marais lui-même, dans son IIe livre de pièces de viole (1701), qu'est née l'idée de cet enregistrement tout à fait original et inédit. En effet, il y invite les musiciens à ne pas jouer le pièces de viole seulement sur la viole : “J'ai eu attention en les composant à les rendre propres pour être joués sur toutes sortes d'instruments comme l'orgue, clavecin, théorbe, luth, violon, flûte allemande…”, et prié les interprètes de “se donner la peine de les mettre sur chaque instrument en particulier”. Il ajoute, dans l'“Avertissement” de son IIIe livre : “Il ne s'agira que d'en savoir faire le choix pour chacun des instrument” (et) remplir le vide entre le sujet et la basse afin de ne pas faire de mauvais sons, ce qui est une règle très essentielle à l'harmonie.”

Two classic easy-listening albums by Paul Mauriat and His Orchestra, originally released in 1966 and 1967 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound.

Paul Motian's second late-'70s trio excursion with Charles Brackeen on saxophones substitutes Jean-François Jenny Clark for David Izenson on bass with no drop-off in quality, but definitely one in mood. Tadayuka Naitoh's cover photo – three blurry figures in black against an amorphous color backdrop (could be bundled-up women waiting at a crossroads) – is a pretty good visual representation of the introspective, abstract flavor of Le Voyage…

Le Jeune’s distinctive contribution to the French chanson marks him out as one of the genre’s essential figures. He is best known for having given musical voice to the concept of the vers mesure a l’antique. The pioneer of this poetic style, Antoine du Baif, sought to return to the simplicity of Greek verse with its clear rules of scansion. The Protestant Le Jeune responded with polyphonic settings in which melismas are abolished in favour of long or short notes of constant duration, corresponding to the strong/weak accentual patterns of the words. In his hands this seemingly daunting restriction is remarkably flexible, and other composers experimented with it, if only briefly (as in Lassus’s lovely Une puce).

Daishin Kashimoto, Emmanuel Pahud, Paul Meyer, Zvi Plesser and Éric Le Sage, who have been close musical partners for years, joined forces once again at the Salon de Provence Chamber Music Festival to record this programme devoted to Viennese composers of the early twentieth century. The most famous and innovative of these are represented: Schoenberg with his Kammersymphonie no.1, Mahler with two lieder transcribed for flute and piano, Zemlinsky’s Clarinet Trio and several pieces by Berg. A disc that encapsulates both the exhaustion of a bygone Romantic age and the avant-garde promises of a modern world still to be built…

Jean-Baptiste Lully, born Giovanni Battista Lulli in Florence in 1632, moved to France early in his career. By the time he turned 30, he had been named music master to the royal family and elevated to the nobility. Italian opera, particularly the works of Cavalli, had become hugely popular in France, and Lully took up the task of creating a tradition of native French opera. In 1775, in collaboration with librettist Philippe Quinault, Lully produced Thésée, a "tragédie en musique," which marked a turning point in the synthesis of music, dramaturgy, and dance, and became the model for French opera for nearly a century, until the reforms of Gluck.