Raphael Feullatre

The funeral of Louis XIV mirrored his reign: grandiose and filled with pathos. Raphaël Pichon has chosen the setting of the Chapelle Royale in Versailles, built ‘for the use’ of the Sun King, to present a musical reconstruction of the event, with chiaroscuro lighting designs by Bertrand Couderc. Solemn grands motets like the De profundis and Dies irae of Michel-Richard de Lalande and the poignant Marche funèbre pour le Convoy du Roy by André Danican Philidor are juxtaposed with rarely heard music by Jean Colin, Louis Chein and Charles d’Helfer. An outstanding performance by Pygmalion, filmed on the occasion of the tercentenary of the event, in November 2015.

Naxos intend to record Vivaldi’s entire orchestral corpus, and Raphael Wallfisch’s integral four-disc survey of the 27 cello concertos inaugurates this visionary, though plainly Herculean undertaking. Soloist and orchestra employ modern instruments; director Nicholas Kraemer contends that authentic protocols can be ably met by contemporary ensembles and, in articulation, style and ornamentation, these pristine, engaging readings have little to fear from period practitioners. Wallfisch’s pointed, erudite and spirited playing is supported with enlightened restraint by the CLS, directed from either harpsichord or chamber organ by Kraemer, whose sensitive continuo team merits high praise throughout. Without exception, these Concertos adopt an orthodox fast-slow-fast three-movement format. Wallfisch, dutifully observant in matters of textual fidelity, plays outer movements with verve, energy and lucidity, such that high-register passagework, an omnipresent feature of these works, is enunciated with the pin-sharp focus of Canaletto’s images of 18th-century Venice, which adorn the covers of these issues.

Between Die Entführung aus dem Serail and the advent of the famous ‘Da Ponte trilogy’, Mozart threw himself frantically into the search for the right libretto, capable of taking the spectator to lands still unexplored where the drama and the psychology of the characters would be sublimated by the music. Hence, in the years between 1782 and 1786, he set up a veritable laboratory for dramatic music: a musical corpus of concert arias, sketches, and stylistic exercises like the canon – here brilliantly organised as an imaginary dramma giocoso in three scenes, each heralding in its own way one of the summits to come: Figaro, Don Giovanni, Così.

In 1646, France's first minister, Italian-born Cardinal Mazarin, eager to bring Italian culture to Paris, hired Luigi Rossi to write an opera for the Paris carnival. The premiére was given a magnificent staging and the performance, which lasted six hours, was a triumph. However, the expense of the performance only stoked discontent against Mazarin, which soon broke out into full-scale popular rebellion. On this video, Raphaël Pichon and Ensemble Pygmalion recreate the magic of that first performance, thanks to a skillful musical reconstruction and the group's vibrant, multi-colored timbre. The dramatic power of the myth of Orpheus is brilliantly conveyed in Jetske Mijnssen's production, which transposes the story into contemporary terms, to evoke the timeless experience of love and death that humanity both desires and fears.

The critics are highly enthusiastic about the young, successful guitarist Raphaël Feuillâtre. "One of the most exciting concert guitarists of his generation," is how Guitar Salon International judges him, while Classical Guitar calls him "a fantastically versatile and sensitive performer." Feuillâtre celebrated his international breakthrough in 2018 as winner of the prestigious international competition of the "Guitar Foundation of America". With his debut on Deutsche Grammophon, he aims to share his love of Baroque music.

This disc, very well recorded and issued originally in 1983, brings together all of the works for solo cello written by Tchaikovsky and as Tchaikovsky originally intended. They are all played with assurance and sensitivity by Wallfisch. Undoubtedly the most important work here is the Rococo Variations. This has suffered for most of its existence from the interference from its dedicatee, Wilhelm Fitzenhagen who made numerous alterations to the score including the deletion of the 8th variation and re-ordering the rest. He also added repeat marks and changed various dynamics.

The Ensemble Pygmalion directed by Raphaël Pichon commences its collaboration with Harmonia Mundi with this new recording of J.S. Bach’s lost music to the Köthener Trauermusik (Cöthen funeral music), BWV 244a. Founded in 2006 at the European Bach Festival, Ensemble Pygmalion is a combination of choir and orchestra - all young performers with experience of authentic instruments and period-informed performance. Its repertoire concentrates primarily on Johann Sebastian Bach and Jean-Philippe Rameau.