Sabine Deviellhe

28 mai 1996. Sabine Dardenne, 12 ans, est enlevée par Marc Dutroux sur le chemin de l'école. Ce monstre a déjà tué quatre enfants. Ce que va subir Sabine Dardenne est effroyable. Pourtant, après quatre-vingts jours d'horreur, elle va être sauvée de la mort dans des circonstances extraordinaires. Sabine Dardenne a attendu huit ans pour nous raconter ce qu'elle a subi. …

Morton Feldman's late period was characterized by works dedicated to friends, his "For …" pieces. One of the best-known and most frequently performed is the piano piece For Bunita Marcus, who was a composition student of his. The work consists of single notes and short patterns of notes spatially notated, without precise rhythmic values. The effect is of a very leisurely improvisation, using a limited number of pitches, played in apparently random manner over the whole expanse of the keyboard. Listeners expecting a structured musical experience governed by conventional musical logic would probably find the piece infuriatingly scattered and pointless.

Études australes is one of several large works Cage wrote during the 1970s by laying starmaps over manuscript paper and using the placement of the stars to determine the pitches. Cage used the I Ching to determine some of the other musical parameters but left the dynamic levels, attacks, and tempos to the discretion of the performer, and this has led to extraordinary diversity in the lengths of performances. The original recording by Grete Sultan, for whom Cage wrote the piece, lasts 169 minutes, Steffen Schleiermacher's version is 203 minutes, and the fastest, at 112 minutes, is by Claudio Crismani. That gives some perspective to the monumentality of this 2011 version by Sabine Liebner, which clocks in at 260 minutes.

Sabine Devieilhe, the young French lyric-coloratura soprano, is a singer “whose upper register, like her virtuosity, appears limitless, while her verbal sense and dramatic engagement are breathtaking”. A prizewinner in the 2013 Victoires de la Musique Classique, France’s equivalent of the Grammys, she has recorded a ravishing programme of excerpts from operas by Rameau with conductor Alexis Kossenko and his ensemble Les Ambassadeurs.

Rameau - Le Grand Theatre De L'Amour - Sabine Devieilhe (2013) {Erato-Warner Classics 5099993414920}
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Full Artwork @ 300 dpi (png) -> 176 Mb | 5% repair rar
© 2013 Erato / Warner Classics | 5099993414920
Classical / Baroque / Vocal

Sabine Devieilhe, the young French lyric-coloratura soprano, is a singer “whose upper register, like her virtuosity, appears limitless, while her verbal sense and dramatic engagement are breathtaking”. A prizewinner in the 2013 Victoires de la Musique Classique, France’s equivalent of the Grammys, she has recorded a ravishing programme of excerpts from operas by Rameau with conductor Alexis Kossenko and his ensemble Les Ambassadeurs.

28 mai 1996. Sabine Dardenne, 12 ans, est enlevée par Marc Dutroux sur le chemin de l'école. Ce monstre a déjà tué quatre enfants. Ce que va subir Sabine Dardenne est effroyable. Pourtant, après quatre-vingts jours d'horreur, elle va être sauvée de la mort dans des circonstances extraordinaires. Sabine Dardenne a attendu huit ans pour nous raconter ce qu'elle a subi …

After a period-instrument reading of the Symphony no.1 that received unanimous acclaim from the critics, François-Xavier Roth and Les Siècles return to Mahler. Joined by the luminous voice of Sabine Devieilhe for the famous finale, they offer us their vision of the Fourth Symphony, which in its own way marks the composer’s transition to modernity, and reveal unsuspected colours and instrumental balances. We still have much to learn about the polyphonic transparency possible within Mahler’s big orchestra!

Earle Brown’s involvement with the fine arts led him to reject previously fixed ideas of musical form and supposedly sacrosanct rules of composition in the early 1950s. His graphic notations, which are primarily oriented toward Jackson Pollock’s painting procedures, guarantee the opening of time and space which leads to the liberation of the sound and the expansion of the meaning of form. “[…] mobility of the sound elements within the work and the graphic provocation of an intense collaboration throughout the composer-notation-performance process – were for me the most fascinating new possibility for ‘sound objects’ as they had been for sculpture and painting.” (Earle Brown)