COCHEREAU

Rarities and Unpublished Recordings
SOCD365/84

Here we are not dealing with a simple repackaging of recordings previously released by Solstice even though a number of essential stages could not be missing from this chosen portrait. Above all, the music lover is invited to a complete reevaluation of the artist’s phonographic legacy: Pierre Cochereau, in all fidelity, henceforth escaping from the outsized but closed universe of his cathedral, without ceasing for an instant to be himself: the organist of Notre-Dame. Some 74% of the recordings are previously unreleased on disc and provide proof by music, repertoire and improvisation combined, that although Cochereau drew his manner and style most profoundly from Notre-Dame as much as from the continuity of a symphonist like Louis Vierne, his personality asserted itself elsewhere, in the unity of the musician and his own modernity.
Michel Roubinet

EAUX-FORTES

Kirill Zvegintsov, piano
SOCD362

There exists an ‘imaginative universe à la française’, as attest the etchings of Jacques Callot, the undergrowth of Corot, and the distant landscapes of Watteau, concealing mysteries, uncertainties, and unavowed fears. The chimera is melancholy and dream, and it can also be terrifying. There is a strange violence in the trills of the great Couperin, dissimulated beneath the ribbons. Debussy comes cloaked in mystery. Jacques Lenot jealously maintains his secret garden, and Georges Hugon, whose destiny seems sleek and orderly, evokes the shade of Shakespeare to liberate his fantasies ‘à la Scarbo’.
Aside from his educational project around the music of Kurtág, the ‘Galaxie-Y’ Endowment Fund has set itself the mission of bringing back to life, thanks to this evolving collection, musical scores of France whether almost ‘ancient’ or sometimes recent and, in any case, all wildly inspired.
Françoise Thinat

EDITH CANAT DE CHIZY

Visio
SOCD359

Were it necessary to define Edith Canat de Chizy’s sound universe as accurately as possible, the words ’energy’, ’tension’ and ’movement’ would immediately spring to mind, so much does the urgency of this music seem projected towards an elsewhere dictated by the imagination. This is one of the reasons for which the composer refutes any system that would mistreat her spirit of invention and risk diverting its trajectory.
Michèle Tosi

DRAMATIC LYRICISM

Liszt and Mussorgsky, by Yuki Kondo
SOCD356

The parallel between Franz Liszt (1811-1886) and Modeste Mussorgsky (1839-1881) represented by the present programme might only seem like a deliberate choice, justified solely by the virtuosity displayed in the piano works by each composer. However, looking more closely, it becomes clear that, beyond the journey of Mazeppa, which inspired one of Liszt’s most famous symphonic poems, both musicians share this Slavic tropism for dramatic lyricism, an inscription in the Romanticism of the national schools of which both are important representatives.
From Franz Liszt to Modest Mussorgsky, virtuosity and the renewal of piano writing are the vectors of a song of the soul, from its earthly ties to its transcendental aspirations, and it is precisely to this voyage that Yuki Kondo invites us with the present programme.
Lionel Pons

JEANNE-MARIE DARRÉ

Plays Camille Saint-Saëns
SOCD363/4

Like that of other pianists of her generation, the name of Jeanne-Marie Darré has largely been forgotten. It was doubtless sometimes mocked by a few malicious tongues in search of sarcasm who saw her as the quintessence of a ‘certain French piano school’, outdated and dying – the appearance of the Russian school having, amongst other factors, hastened its decline. Marguerite Long, who was one of Jeanne-Marie Darré’s two principal teachers, would be in the front line of these attacks. Her pianism and teaching were reviled on the grounds of a technique that some deemed too exclusively digital, responsible for corporal stiffness and ‘typewriter playing’, overly mechanical and ill-adapted for legato. However, although Jeanne-Marie Darré was nurtured at this ‘school’, she managed not only to transcend its ‘limits’, but even more will have made its final splendour glow with rare incandescence.
Olivier Mazal

LIPATTI - THE LAST RECITAL

From the original master tape
SOCD358
  

The aim of the present release of Dinu Lipatti’s last recital at the Besançon Festival – about which we know the dramatic conditions in which it took place – is to give, for the first time, a version not only complete but going back to the best sources. And it is once again thanks to the I.N.A. (National Audiovisual Institute) that, by chance, we found the original tape from 1950, recorded with the means of the French Radio (R.T.F.). Solstice elected to release this recital as preserved on the original tapes – with the presence of hiss. This was an artistic choice stemming from a concern for authenticity. With all the customary reservations, we thus have grounds for considering the present version historic.
Yvette Carbou

EX TENEBRIS LUX

Les Zippoventilés Ensemble
SOCD354

Holy Week is doubtless the fullest period of the Christian liturgical calendar, featuring the essential points of the faith’s meaning and mystery. This time was a source of inspiration for most of the Baroque composers. We have chosen to illustrate this week with several Tenebrae lessons. The genre is fairly ambiguous in the musical landscape of the era: it was indispensable to create music sufficiently sober to meet liturgical requirements by recalling the melismatic intimacy of the Gregorian. But, in spite of that, the works demonstrate considerable sophistication and thoroughly Baroque expressiveness, not hesitating to make syllabic use of the text.
Benoît Dumon

DIEGO TOSI

Sarasate - Gounod
SOCD353

It will be noted that these three great sets of variations by Sarasate are youthful compositions. Nonetheless, we already find a fairly synthetic way of developing the main themes. It was by taking that into account I permitted myself to start from these compositions togo, if possible, even further in respecting the primary wish of their author.
The instrumentation that I wanted to generalise for string orchestra seemed quite appropriate for giving the soloist a foundation, a dialogue, a combat or a discussion in the same sonic grain.
Daniel Tosi