Every Tuesday, Wednesday and exceptionally this week, meeting with news of classical music. And to start this autumn, we start with a label ( B Records ), a disc ( Trifonov plays the Variations of Rachmaninoff ), an interview by text ( Quartet Arod ) and organic (that of Georges Bizet ).
label RECORDS B
Young musicians here for early works available in a brand new collection. This autumn, the third title of the record label B offers two pieces by Mendelssohn, Schumann after two discs and Janacek published in the spring. Recorded last year in the Easter Festival / Deauville A musical August, the quartet and sextet for piano and strings, federated around the pianist Ismael Margain, surprise by their vivacity and punch their sound recording, closer musicians. Florent Derex, cofounder of the whole Balcony, “which is more like a band,” but also the label with Baptiste B Records Chouquet, met at the conservatory in Paris, returns to the recording these two works of very young Mendelssohn (then 15 years), composed a few months before the famous octet.
Is it not madness to mount a classical music label aujourd ‘hui?
A little, but is a special B Records label, we do not sign artists, for example. Since the beginning we have a precise approach, live recordings and work with partner festivals: the Schumann album with the Athenaeum Theatre and music Mondays; Janacek and Mendelssohn with the Deauville Film Festival.
When we launched B Records we do not ask questions, it was an instinctive project. We hesitated to launch a completely digital label. And we realized that it was attached to the physical object. Just as the press began its transition to digital with info online but retained paper newspapers, I think it would have been good to have only digital.
How do you live the titles in your collection?
First, we leave a series of albums. Then we will create with our partners, websites, platforms for trace their sound archives. For example, within a year, all the archives of the Deauville festival, created especially by Renaud Capuçon and has 20 years of existence, will be available online. Ditto for music Mondays at the Athenaeum.
The recording of Mendelssohn struck by the vivacity of its execution and the dull nature of its miking …
What are “young musicians’ musicians of my generation (laughs) I logged in the competition record setting, or that I knew at the Conservatory. We wanted to record the sextet with pianist Margain Ishmael, and we then completed with another early work by Mendelssohn, always with Margain. Both concerts were performed in the hall Elie de Brignac, in Deauville, which are also held auctions of thoroughbred horses. Acoustics is special, but if the musicians are approaching the far wall, wood, overlooking the room and which is normally held the commissioner, the sound is really better and the sound is so close.
The picture accompanying the album shows a horse led on a track …
In Elie room Brignac, in Deauville. They sell horses at auction, there records of chamber music. Photo of Charles Aspermont. B Records
Yes, the day we went into the room with the photographer to make the cover, there was just a yearling sale. This picture is a nod to the room. What we wanted, when we decided to keep physical media, was to have a graphic object with a large picture that can serve as a poster. Any additional indications of intent notes, information on the musicians are on our site. The physical content must not be the same as the digital content. Each format has its form
Mendelssohn Quartet No. 3 and op.3 Op.110 Sextet for piano (Ishmael Margain) and strings, Deauville Live 2014 (B Records)
On 11 December 1830, when Mendelssohn wrote this sentence, the ad newspapers did not exist.
CD TRIFONOV OJEU RACHMANINOV
You do not change a team that is changing. The Rhapsody on a Theme of Paganini was played for the first time in November 1934 by the Philadelphia Orchestra with Rachmaninov on the piano. Eighty years later one year, it is this same training that interprets the work in this CD Deutsche Grammophon with the wand the Canadian Yannick Nézet-Seguin and piano Russian Daniil Trifonov, already 24 years. Registration is in line with expectations, that is to say shiny, smooth cornering and explosive in contrasts. The Dies Irae crunch, the Variation 18 deglazing the rachmaninovien juice with a depressive melancholy and the final notes of the last change are placed on the whole as an ironic icing on a cake digestible.
Daniil Trifonov: “I see Rhapsody like a miniature ballet, a dance with destiny over the soul of Paganini. “ (Photo Dario Acosta. DG)
Rhapsodie is completed with works for piano: the Variations on a Theme of Chopin, Corelli Variations, and a composition Trifonov himself, Rachmaniana <. /> em> “I was homesick. I was in the United States for two or three months. I was 18, I was away from my parents for the first time, so far from home, “ Trifonov said in a notice of the press kit, as if to apologize. Rachmaniana “is a kind of homage to Rachmaninov” also uprooted in his time on the lands of the New World. “I would think, continues pianissime, I feel a particular cultural identification with Rachmaninov. I feel close to her Russian character, as well as his love for the language of musical romanticism. “ Where the start of this age-old dialogue between virtuoso pianists. And now composers.
Listening to these five rachmaninoviens movements in the soul and actually not that nostalgic, one wonders what would have thought of such a Russian tribute when In 1897, after the critical failure of his Symphony No. 1, you “spent [a] half [his] days lying on [his] bed, sighing [s] has ruined life. “
Daniil Trifonov The Sergei Rachmaninov Variations with the Philadelphia Orchestra conducted by Yannick Nézet-Seguin (Deutsche Grammophon)
Texto full THE AROD QUARTET
this world saturated with screens, everything goes too fast. It is time to ask, quietly, and out his smartphone to take part in a crazy interview session by SMS. Monday, August 31, three quarters of an hour before a Haydn-Ligeti-Schubert concert at Montreux-Vevey festival, the talented Arod Quartet (Corentin, Alexander and Jordan Samy, 22 years average age) was loaned to play.
Hello everyone. You’ve played musical September
Quartet: No, this is the first time. However, this is our second time in Switzerland! We played at the Verbier Festival one month ago.
How do you get ready just before going on stage?
Quartet : (! Turn your 3G)
It is lit
Samy: Like that
Jordan Victoria Alexander Vu, Corentin Apparailly, photo taken by Samy Rachid.
One senses you are mortified by stage fright !! Being many, it is an asset or a handicap
Corentin: An asset
Alexander: A plus!
Samy: A disability
Arf! How do you compensate if one of you is less willing
Quartet: In reality, it’s still a joy to share this music together on stage . As you say, when one of us does not feel good, others are supportive, the energy flow between us, there is always an exchange. It’s very rewarding
You spend a lot of time together outside of repeat Rooms
Quartet: Yes, in the group psychologist! : P
If you play him Ligeti, the atmosphere must be crazy in the office …
Quartet: As you say ! Haha.
We are very good friends, so we go a bit our life together as brothers …
Haydn, Ligeti, Schubert. Your day directory broad spectrum. How do you compose?
Quartet: This is a program that really holds us heart. We like to connect these three pieces, three times … And then it’s a bit of a challenge in concert, it’s a very intense music!
When choosing the directory, this is a agreement between us. Some shots heart for such works, others for such other … But we still fall very often agree. There are things that do not discuss. 
(Alexander the notebook, photo Clément Ledoux, the quartet’s manager)
When you know that the concert will be successful ? From taking in hand the instruments, after few steps
Quartet: If the first note is beautiful, we are happy. Well after, it must also pass all the others, but it’s easier.
You really never know what can happen on stage. It is a space of such freedom that one can predict anything …
But that’s what we love.
Jordan, Alexander, Corentin and Samy cello. (Photo Clément Ledoux)
You contact you for a piece
Quartet: Of course! We communicate even more than before during and after
A good memory scene
Samy.? Our last Schubert ! Rouen
Alexander Vibration Festival in Rouen orangery August 26
Corentin. There will one in two hours!
Very good! Damn you for the next two hours
Quartet. Thank you
This fall, Arod Quartet will be in concert in Chantilly (5 September); Hungary, in Budapest as part of the Franz Liszt Academy (24) and Quartettissimo festival Fehérvárcsurgó (25); Paris and attend the Night of the Quartet, the Orangerie Museum … to 4am. (View from the lodge on Lake Geneva).
It’s organic life GEORGES BIZET
Before the passage of Jonas Kaufmann, on Friday, 11 on France Musique, which devotes a special day, and to better remember the setting dull scene of Carmen installed in July Orange, discover some passages of the opera emblem of French sound, such as picks in the biography of Georges Bizet by Jérôme Bastianelli, who appears September 2 Actes Sud.
“Nietzsche opposed Bizet to Wagner, the music of the French, “perfect, smooth and polished, do not sweat,” to that of the German, made of deception, grimaces and “lies of the grand style”. To “mist” Germanic, he preferred “dry air, air limpidezza” that transmits Carmen . “
” However, it is not only found in this opera evocations of Spain fantasized. Du Locle, Director of the Opéra-Comique, unconvinced by his new production, saw a different origin: “This is the Cochin music, one understands nothing at all!” ”
“The painter Jacques-Emile Blanche, who attended the premiere of the opera March 3, 1875, what was said that night the reaction of composer Faust: “After the air Micaëla in the third act, which was encored, Gounod leaned forward and applauded enthusiastically, so that all might see, and then sat back and added: ” This melody is from me ! Georges robbed me! If we remove the Spanish airs and mine of the score, there is nothing left to put in the account of Bizet, the sauce that puts the fish! ‘”
It should be said that both men already had a case of analogy to the fire. Anyway, three months later, Bizet died at 36 years. His Carmen is then moderately welcomed. Today it is the second part of the most up opera in the world. After La Traviata Verdi. Before the Magic Flute by Mozart.
Georges Bizet Jérôme Bastianelli Actes Sud, 168 pp., € 17.80
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