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May 2019

Gordis2019-3

Lillian Gordis

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Gordis2019-3

Born in 1992, Lillian Gordis discovered the harpsichord at the age of 9. At Pierre Hantaï’s encouragement, she moved to France at 16, where she was his private student from 2009 to 2013. She was also mentored by Skip Sempé and Bertrand Cuiller. In 2018, she received a master’s degree in performance, summa cum laude, from the Université Paris-Sorbonne and the Pôle Supérieur de Paris-Boulogne.She has been an invited soloist on France Musique’s radio show, Génération Jeunes Interprètes, and regularly performs as a soloist in festivals in France, across Europe and the United States. She plays in a duo with Jérôme Hantaï and maintains regular chamber music engagements.

Lillian is a four-time laureate of the Fondation Royaumont (2013, 2015-2017) and is supported by the Fondation d’entreprise Safran. Her first solo album, dedicated to sonatas of Domenico Scarlatti, is appearing in 2019 for Paraty (Harmonia Mundi-PIAS)

 

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ZONES | Domenico Scarlatti

ZONES | Domenico Scarlatti

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Clairs de Lune | Berlioz & Fauré

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Clairs de Lune | Berlioz – Fauré
Jean-Paul Fouchécourt, ténor & Quatuor Manfred

After more than 30 years of intense activity, the repertoire that our quartet has enjoyed, explored and championed is particularly vast. Several characteristics are expressed in it, and one of them is highlighted in this recording: our passion for the repertoire with voice.

The truly rich histories of string quartets, of the French mélodie and of the German Lied offer parallels, but curiously, they only rarely intersected (Schoeck, Wellesz, Schoenberg, Eisler, Hindemith, Milhaud wrote for voice and the quartet, but are not among the most sought-after composers). We often approach certain cycles through transcriptions that we commission or create for ourselves (Haydn, Schumann, Dvořák, Brahms, Mahler).

In response to the rich harmonic colours of Berlioz, Gabriel Fauré’s string quartet makes its presence felt through its entirely symbolist intimacy, its finely chiselled harmony, and “its thought purified up to the threshold of abstraction and evanescence”

With regard to the Summer Nights and in order to pursue our singular poetic path with Jean-Paul Fouchécourt, our dear quintet partner proposed to us the Fauréan vision of Gautier’s Lamento (Fauré kept the original title La chanson du pêcheur whereas Berlioz chose Sur les lagunes). In order to develop this long-distance dialogue between the two composers, we were tempted to compare the Clair de lune of Paul Verlaine by Fauré with that of Gautier by Berlioz.

This is how Clairs de lune was bornan album more poetic – more dreamlike – than musical, a truly personal album by our quartet, an amorous programme of mélodies for voice and string quartet.

Emmanuel Haratyk (Violist fot the Manfred Quartet).

 

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Clairs de Lune|Berlioz & Fauré

Clairs de Lune|Berlioz & Fauré

Quatuor Manfred / Schumann & Tchaïkovsky

Quatuor Manfred / Schumann & Tchaïkovsky

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Joanna Goodale - 2018 Portrait

Joanna Goodale

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Joanna Goodale - 2018 Portrait

JOANNA GOODALE, pianist & composer

Born into a British-Turkish family, Joanna Goodale is a French-Swiss pianist with an eclectic and creative identity, opening up the classical repertoire to traditional world music and to her own comprovisations.

She has been invited to perform in Switzerland, in France, in Germany, in Turkey, in Spain and in the United Kingdom. Graduate of a Master of Arts in Piano (Geneva) and a Master of Arts in Anthropology (London), she has benefitted from the support of the Fondation L’ABRI in Geneva and of the advice of internationally renowned pianists such as Alice Ader, Alain Kremksi, Cedric Pescia, Menahem Pressler and Anne Queffélec. Deeply convinced that music can transcend borders and touch the sublime, she invites her public to enter in communion with sound and silence in a space-time of rare intensity.

 

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Bach in a Circle

Bach in a Circle