Thierry Becourt

Thierry David is a French composer and producer releasing albums of new age, ambient-electronic, world, lounge music since more than two decades. The world of this legendary producer is a mysterious one. Subtly developing keyboard motifs, trip-hop and downtempo electronic grooves take you on a journey toward inner peace. Hidden within this slowly unfolding, deeply evocative record lies Thierry David's secret world, waiting to be discovered…

The Swiss pianist and composer, Thierry Lang, was born on the 16th December 1956 in the small town of Romont in the canton of Fribourg. He started learning piano at the age of 5 and by 7 years old had decided to make piano his career. He excelled in classical piano studies until the age of 21 while at the same time developing a passion for jazz.

Saint-Saëns’s Symphony No. 2 is, by any standards, an outright winner and deserves to be much better known. Here, it’s one of two substantial works flanking a rambunctious account of Danse macabre.

The present album is the second of two recorded by the Orchestre Philharmonique Royal de Liège and Jean-Jacques Kantorow to commemorate the centenary of the death of Camille Saint-Saëns. On the first instalment the team offered us ‘deeply impressive performances in stunning sound’ (theclassicreview.com) of the composer’s first and second symphonies and the unnumbered Symphony in A major, but now the time has come for Saint-Saëns’ crowning glory in the symphonic genre: his Symphony No. 3 in C minor, generally known as the ‘Organ Symphony’. The work was composed in 1886, and Saint-Saëns had planned to dedicate it to Liszt but the latter’s death the same year caused the dedication in the published score to be modified to ‘in memory of Franz Liszt’.

For this live album, the BBC National Orchestra and Chorus of Wales present Igor Stravinsky's Le Sacre du printemps with Francis Poulenc's Les biches in remarkably vivid performances, under the direction of Thierry Fischer. The most distinctive characteristic of this reading of Le Sacre is the independence of the lines, which are interpreted with a certain individuality that gives the music great flexibility, notably in the woodwinds' contrapuntal passages. Les biches has a bright neo-classical quality that is emphasized by the winds' incisive attacks, brisk tempos overall, and the transparent tone colors of the orchestra.

Don’t be fooled by those well-known portraits of Saint-Saëns the bearded éminence grise—the two symphonies recorded here are the work of the young Camille, spreading his compositional wings and displaying a technical fluency far beyond his teenage years. In between, a certain musical menagerie roars, clucks, brays and squawks for attention.