This album brings together two Viennese composers with the same first name, Franz Schubert and Franz Lachner, at a pivotal moment in their career, around the year 1825. Both then evolved in the same musical environment, frequented the same circles and participated in the development of Lied and chamber music in a Vienna still marked by classical heritage and already turned towards romanticism. The program offers a cross-reading of their vocal and instrumental works, revealing aesthetic affinities that are often overlooked.

Through an alternation of Lieder and instrumental pieces, this album sheds light on the links between vocal writing and chamber language, between poetic intimacy and inherited forms. Schubert's works dialogue with those of Lachner, a composer who is now less well known but a central figure in Viennese musical life at the beginning of the 19th century. This combination makes it possible to place Schubert in a wider artistic context and to restore its full place to a repertoire that is rarely explored on record.

The Ensemble Double Face brings together around this program an original formation combining voices, strings, winds, guitar and pianoforte. This instrumental combination restores the diversity of musical practices of the time and highlights the flexibility of the writings as well as the expressive richness of the works. The interpretation favors the clarity of the lines, the balance of the stamps and the attention paid to the text, offering a coherent and historically informed reading of this Viennese moment shared by the two Franzes.

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This second album by JOR — Jeune Orchestre Rameau, conducted by Bruno Procopio, is devoted to Jean-Philippe Rameau's Harpsichord Pieces in Concerts in a sextet version based on handwritten scores dated 1768. These sources, preserved in the library of the collector Decroix, bear witness to a late adaptation of the work, distinct from the best-known versions today. The manuscript states that this version was not designed for a sextet of strictly individual soloists, but for a division of parts, especially in the double-string passages, opening the way for expanded interpretation.

Based on this material, the JOR proposes an adaptation for twelve musicians, in order to reinforce the orchestral dimension of the work while maintaining the concerting spirit wanted by Rameau. The concerting harpsichord part, from the original version, is reintegrated in order to ensure the coherence of the discourse and to provide a rhythmic and expressive impetus to the ensemble. This approach is part of the continuity of the work conducted by Bruno Procopio around Harpsichord Pieces in Concerts, already explored on record and in concert in various forms, including in the versions for large orchestra arranged by Rameau himself.

The JOR — Jeune Orchestre Rameau is designed as an orchestral laboratory dedicated to the interpretation of the French repertoire of the 18th century. Bringing together young musicians from major European and international institutions, the ensemble benefits from the support of Éditions Rameau and several partner conservatories. Through this project, the JOR affirms a double ambition: to renew the listening to Rameau's work by working on sources and formats, and to contribute to the transmission of a repertoire that is still largely to be rediscovered, at the heart of a lasting commitment to orchestral excellence.

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This recording is dedicated to the organ work of Domenico Zipoli, a major figure in Baroque music active between Italy and Latin America at the beginning of the 18th century. The program brings together all the pieces published in Rome in 1716 as well as works attributed to the manuscript Sones mo organo, preserved in San Rafael de Velasco in Bolivia, testifying to the dissemination and adaptation of this repertoire in the context of the Jesuit missions.

The album was recorded on Diamantina's historic Almeida e Silva organ, built in 1787 and recently restored. This Brazilian instrument, made from local materials and influenced by Iberian traditions, offers a sound framework directly linked to the colonial and religious history of Minas Gerais. The recording was made at the Church of Our Lady of Mount Carmel in Diamantina, using integral takes in order to restore the musical continuity and acoustics of the place.

Through this project, Marco Brescia puts into perspective the links between the European organistic tradition and its extension in Latin America. The interpretation seeks to convey the stylistic diversity of Zipoli's writing, between Italian heritage and Ibero-American influences, while placing the organ at the center of the subject as a living witness to the cultural and spiritual exchanges of the Baroque world.

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This disc brings together the complete piano sonatas by Frédéric Chopin, composed between 1828 and 1844, from the First Sonata op. 4, a youthful work still rooted in classical models, to the Third Sonata op. 58, the peak of formal and expressive maturity. Through these three scores, a path is drawn that accompanies the gradual emancipation of Chopin's pianistic language and his emancipation from the frameworks inherited from the classical sonata.

The Second Sonata op. 35, known as the “Funeral March”, occupies a central place in this cycle. Built around his famous slow movement, it marks a radical break through its formal audacity, its fragmented writing and the expressive power of its discourse. The Third Sonata, for its part, broadens the form towards a more fluid architecture, where the lyricism of the song, the heritage of bel canto and the harmonic density are integrated into an assumed dramatic continuity.

Véronique Bonnecaze approaches these sonatas as a coherent whole, emphasizing the filiations as well as the contrasts between the works. His interpretation highlights the ongoing tension between structural rigor and poetic freedom, between virtuosity and interiority, offering a reading that restores the uniqueness of each sonata while conveying the profound unity of Chopin's piano universe.

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This disc brings together two major cycles of the Romantic piano repertoire, Les Moments Musicales by Franz Schubert and Sergei Rachmaninoff. Separated by nearly seventy years, these works share the same name without constituting a genre in the strict sense. However, they are part of a tradition of short forms resulting from improvisation, where the piano becomes the place for immediate, condensed and free expression.

For Schubert, the Six Musical Moments D. 780, collected in 1827, offer an intimate synthesis of his universe, made up of apparent simplicity, restraint and emotional depth. With Rachmaninoff, the Six Musical Moments op. 16, composed in 1896, expanded this form towards a more expansive and virtuosic composition, where the piano acquired an orchestral and dramatic dimension. The dialogue between these two cycles highlights a poetic continuity as well as a transformation of piano language between Viennese Romanticism and the Russian tradition of the end of the 19th century.

Véronique Bonnecaze approaches these works as a coherent journey, attentive to the contrasts of scale, density and climate between Schubert and Rachmaninoff. His interpretation underlines both the intimacy of the Schubertian gesture and the expressive breadth of Rachmaninoff's writing, allowing us to hear the transition from the miniature to the fresco within the same musical spirit.

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This disc brings together Sergei Prokofiev's major piano pages around a central axis: the transformation of piano language in the 20th century. From Fugitive Visions to Tales of the Old Grandmother, from Sonata No. 6 to pages from Romeo and Juliet and War and Peace, the program goes through several periods of the composer's creation, between rhythmic radicality, harmonic tension and melodic lyricism.

For Prokofiev, the piano ceases to be a purely lyrical instrument to become an orchestral, percussive and dramatic space. The writing confronts violence and irony, mechanical energy and introspective depth, while maintaining a formal clarity inherited from classical tradition. The works brought together here bear witness to this constant duality, where modernity asserts itself without breaking with tonality.

Véronique Bonnecaze approaches this repertoire in a structured and committed way, attentive to the diversity of styles and climates. His interpretation highlights the coherence of a pianistic journey where expressive power, rhythmic precision and narrative sense form an inseparable whole.

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Claude Debussy occupies a central place in the history of the piano through the profound transformation he brought about in musical language at the dawn of the 20th century. The works collected in this recording cover a decisive period of its creation, from the Bergamasco Suite to the Préludes, including L'Isle Joyeuse, Images and La Plus que Lente. This journey highlights the evolution of writing where the search for tone, color and suggestion renews the perception of the keyboard.

Véronique Bonnecaze approaches this repertoire as a coherent journey, attentive to the correspondence between the works and to the continuity of the musical gesture. The program brings together emblematic pieces and major cycles, revealing a conception of the piano thought of as an orchestral instrument, capable of suggesting landscapes, movements and atmospheres, without ever claiming an avant-garde posture.

Recorded at the Villefavard Farm in March 2018 and published by Paraty, this album is based on texts by Stéphane Friédérich and a sound recording by Cyrille Métivier. It offers an in-depth and documented reading of Debussy's piano universe, faithful to the spirit of the composer and to the French tradition of demanding sound and style.

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Frédéric Chopin composed Études op. 10 between 1829 and 1831, then Études op. 25 between 1832 and 1836. Often described as an encyclopedia of piano technique, these two series also constitute an aesthetic reflection where virtuosity is inseparable from expression, emotions and poetry.

In this recording, pianist Véronique Bonnecaze interprets the entirety of Études op. 10 and op. 25. The program compares the diversity of characters, tempos and writings, and highlights the way in which Chopin condenses, in a few steps, a complete musical discourse.

Paraty reissue of an album recorded in 1999, this record was produced with artistic supervision by N. Delle-Vigne Fabbri, sound recording, editing and mastering by Th. De Marre, a graphic creation by Leo Caldi, and texts by Véronique Bonnecaze

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This disc is devoted to the repertoire for flute, viola and harp, a singular formation whose history was built at the crossroads of chamber music and orchestral thought. Far from being a simple juxtaposition of instruments, this trio finds its identity in the way in which the tones blend, respond to each other and structure the musical discourse.

At the center of the program is Claude Debussy's Sonata for Flute, Viola and Harp, a late work composed in 1915, which has deeply marked the history of this formation through its resolutely modern writing and orchestral treatment of colors. Around this major score are articulated works by Théodore Dubois, Arnold Bax, Arnold Bax, Leo Smit and Tōru Takemitsu, each bringing a unique look at this group, from the end of the 19th century to the end of the 20th century.

These works, distant in time and in their aesthetics, nevertheless bear witness to a continuity in the search for textures, climates and poetic relationships with sound. From Dubois' Terzettino, prior to Debussy, to And then I knew 'twas Wind by Takemitsu, inspired by a poem by Emily Dickinson, the program unfolds like a journey where musical memory is transformed without ever being broken.

Founded in 2017, the Zerline Trio brings together flautist Alice Szymanski, violist Estelle Gourinchas and harpist Joanna Ohlmann. Committed to both contemporary creation and the rediscovery of the repertoire, the three musicians defend a demanding approach to chamber music, nourished by dialogue with composers and by in-depth work on sources and instrumentarium. The historical instruments chosen for this recording participate fully in the sound unity of the program, by offering a palette of stamps adapted to a repertoire spanning nearly a century of creation.

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This disc offers a journey through a century of Viennese music for piano trio, from the end of classicism to the thresholds of modernism. The works brought together draw a coherent historical and aesthetic trajectory, where languages evolve while maintaining a strong link with the formal and expressive tradition of Vienna.

The program combines Piano Trio No. 2 op. 22 by Johann Nepomuk Hummel, composed in 1799, Piano Trio No. 2 op. 87 by Johannes Brahms, written in 1882, and Verklärte Nacht by Arnold Schönberg in an arrangement for piano trio. These three scores allow us to observe the gradual transition from classicism to a fully asserted romanticism, then the emergence of a language announcing the upheavals of the 20th century.

Founded in 2011, the Khaldei Trio brings together Barbara Baltussen on piano, Pieter Jansen on violin and Francis Mourey on cello. The ensemble has established itself on the Belgian and international stages through extensive work on the piano trio repertoire and particular attention paid to the coherence of the programs. This recording extends this approach by linking major works of the repertoire with a reflection on the evolution of musical forms and language.

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Settling in Vienna from 1792, Ludwig van Beethoven forged the foundations of his musical language while establishing himself as a virtuoso and an improvisator. The works collected in this disc bear witness to this decisive period, marked by intense creative activity and by a constant dialogue between classical heritage and the assertion of a personal voice.

The Trio for piano, clarinet or violin and cello op. 11, op. 11, composed in 1798, is distinguished by the richness of its contrasts and by the balance between the three instruments. Designed to seduce with its elegance and clarity, it combines virtuosity, lyricism and a sense of musical theater, especially in the final movement based on variations.

In 1803, Beethoven transcribed his Septet op. 20 for trio op. 38, a work that was already highly appreciated during his lifetime. Maintaining the spirit of serenade and divertimento, this trio develops a succession of movements combining melodic invention, formal refinement and rhythmic energy.

This program is performed by the DSCH — Shostakovich Ensemble, a variable geometry group founded and directed by the pianist Filipe Pinto-Ribeiro, with Pascal Moraguès on clarinet and Adrian Brendel on cello. Reading them highlights the vitality, flexibility and expressive richness of these pages, placing these trios at the heart of Viennese Beethoven.

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With this first recording, the Bagatelle Trio devotes a program to Wolfgang Amadeus Mozart's piano trios, composed in Vienna between June and October 1788. The selected works, the trios in E minor K.542, in C major K.548 and in G major K.564, illustrate three distinct and complementary characters, intimate and painful for the first, majestic and brilliant for the second, majestic and brilliant for the second, and brilliantly simple for the latter.

These trios belong to a particularly fruitful period in Mozart's life. Written in the months that also saw the birth of symphonies No. 40 and No. 41, they bear witness to a subtle balance between chamber writing and orchestral thought. The dialogue between piano, violin and cello is constantly renewed, with each instrument participating fully in the musical discourse.

The Bagatelle Trio approaches this repertoire in a spirit of conversation and sound theater, faithful to the Mozart aesthetic. Recorded at Studio Sequenza under the artistic direction of Thomas Vingtrinier, this disc offers an attentive and lively reading of these works, highlighting the expressive richness and formal clarity of Mozart's trios.

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Chic à la française is the second recording by the Trio Atanassov and brings together three works that occupy a central place in its concert career. The program combines Claude Debussy's Trio in G Major, Maurice Ravel's Trio, and Philippe Hersant's Trio, drawing a panorama of French piano trio music, from the turn of the 20th century to contemporary creation.

These three works, very different in their language and context, share the same attention to the clarity of discourse, the balance of forms and the richness of instrumental colors. Debussy's Trio, a youthful work that was rediscovered late, already reveals a singular personality, marked by harmonic freedom and the refusal of academic conventions. The Ravel Trio, composed in 1914, stands out as a pinnacle of the repertoire, where instrumental virtuosity and formal sophistication are supported by highly fluent writing. Philippe Hersant's Trio extends this tradition by creating a dialogue between the heritage of Marin Marais and personal contemporary writing, based on the game of memory and variation.

Through this recording, the Atanassov Trio affirms a conception of “French chic” based not on effect or ostentation, but on the elegance of the musical gesture, the precision of the interpretation and the coherence of the discourse. True to its artistic standards and its eclecticism, the ensemble offers a thorough and committed reading of these works, which highlight the continuity and vitality of the French piano trio repertoire.

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The third recording by the Atanassov Trio, Bohemian Rhapsodies is dedicated to Antonín Dvořák, a central figure in Czech music at the end of the 19th century. The program brings together Josef Suk's Piano Trio No. 2, Op. 26, Op. 26, Dumky, Op. 90, and Elegie, Op. 23, offering a journey that brings together the formal diversity and narrative momentum specific to this music.

Through these works, the trio highlights a style where the freedom of discourse, the flexibility of form and the presence of dance and popular song are part of a great tradition of chamber music. The Dumky, a succession of contrasting paintings, occupy a central place in this musical story, while the Trio op. 26 reveals a Dvořák in full stylistic style. Suk's Elegy, written under the influence of the poet Julius Zeyer, ends the album as a natural extension of this bohemian universe.

Founded in 2007, the Trio Atanassov brings together Perceval Gilles, Sarah Sultan and Pierre-Kaloyann Atanassov. Recognized for the clarity of its discourse and the rigor of its collective work, the ensemble has distinguished itself in numerous international competitions and regularly performs on major European stages. With Bohemian Rhapsodies, the trio continues their exploration of the major figures of the repertoire by offering an engaged and coherent reading of these major works.

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Concert pour Debussy is the result of a collaboration of several years between the Antara Trio, composed of Emmanuelle Ophèle on flute, Audile Auboin on viola and Ghislaine Petit-Volta on harp, and the composer and artistic director Benoît Sitzia. The project takes as its anchor the Sonata for Flute, Viola and Harp by Claude Debussy, the central work of the unfinished cycle of the Six Sonatas for various instruments, composed between 1915 and 1917. This work is part of an in-depth reflection on Debussy's musical thought, which began with the trio's first research on this sonata.

A true laboratory of Debussyste poetics, the Sonata for Flute, Viola and Harp has profoundly marked the history of chamber music and inspired numerous subsequent creations. Its structure, its relationship with French musical tradition and its perspective on modernist trends served as a crucible for the development of the program for this recording. The album is thus constructed as a concert in the Baroque sense of the term, combining explicit tributes, poetic evocations and imaginary resonances, in order to question what Debussy still represents today.

The program brings together transcripts by Debussy, including the Six Ancient Epigraphs and La Plainte au loin du Faun by Paul Dukas, as well as an original work by Benoît Sitzia,... to a big bird eager for the light..., composed for the Antara Trio. This creation, designed as a series of images and paintings, dialogues with the heritage of Debussy and its extensions in Messiaen and Boulez. Complemented by the transcription of Des Pas sur la Neige, this recording offers a musical journey that sheds less light on the historical figure of Debussy than on the permanence and fruitfulness of his influence.

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Fétiches brings together a set of works by the composer Tomás Bordalejo, written between 2013 and 2019, and constitutes the culmination of a cycle of research devoted to musical gesture, sound material and their transformation over time. The program brings together solo and chamber music pieces, including several first recordings, designed in close collaboration with the performers and resulting from institutional commissions or long-term artistic partnerships.

At the heart of this project is a reflection on sound as a physical and perceptual experience. Tomás Bordalejo's work explores the intermediate zones between height and noise, continuity and rupture, stability and imbalance. Each piece develops its own dramaturgy, based on the circulation of energies, the density of textures and the evolution of instrumental gestures, in a constant relationship with space and time. The musician's gesture, immediate and singular, thus becomes the driving force behind the musical form.

Performed by a collective of artists closely linked to the composer's career, Fétiches highlights an artisanal approach to contemporary creation, based on listening, experimentation and transmission. Like ritual objects, these works bear witness to the sound materials, instruments and performers that marked Tomás Bordalejo's career, while opening up new perspectives in his writing.

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This recording brings together the seven Toccatas for keyboard by Johann Sebastian Bach, composed when the composer was not yet twenty-five years old. Young works but already of great maturity, these toccatas constitute a formal laboratory in which Bach freely explores the prelude, the improvised fantasy, the fugato and the structures inspired by the Italian concerto. Each of them appears as an autonomous research on sound, gesture and form, in no other order than that of their publication.

Interpreted by Laurent Cabasso, these pages bear witness to the spirit of the stylus phantasticus inherited from the North German tradition and nourished by the decisive influence of Buxtehude. The music alternates free recitatives, virtuoso episodes, meditative movements and structured fugues, in a constant game of contrasts between apparent freedom and contrapuntal rigor. Through these works, young Bach's progression towards a unified formal thought, based on the Baroque ideal of unity in diversity, is outlined.

The recording was made on the Stephen Paulello piano opus 102, whose clarity of registers, the length of the sound and the polyphonic legibility offer a particular insight into Bach's writing. This instrumental choice makes it possible to highlight the vitality and inventiveness of these toccatas, while respecting their rhetorical and expressive requirements.

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Con Fuoco reveals right away the universe of Stéphane de Carvalho: that of a guitarist inhabited by color, contrast and narrative momentum. The program crosses several guitar traditions, from Turina to Ginastera, including Mertz, Ponce, Roland Dyens, Napoleon Coste and two Scarlatti sonatas transcribed by the artist himself. The ensemble draws a coherent journey, where lyricism, dance, rhythmic energy and virtuosity flow together with great fluidity.

Trained with major guitar figures such as Pedro Ibañez, Alexandre Lagoya and Roberto Aussel, Stéphane de Carvalho has developed a deeply personal game, nourished both by the exigency of the classical repertoire and by a very marked sensitivity for climates, tones and the breathing of speech. His career has led him to explore a vast musical territory, from the 19th century to 20th century composers, with a particular affinity for Hispanic and Latin American repertoires.

With Con Fuoco, it offers much more than a simple recital: an inner journey, tense between elegance, intensity and freedom. From the Andalusian light of Turina to the brilliance of Ginastera, through the poetry of Ponce and the rhythmic invention of Roland Dyens, this record affirms a strong artistic identity, that of a musician who makes the guitar a real storytelling instrument.

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