Search results: Search results
14 results
Products
-
Rameau: Zoroastre / Kuijken, La Petite Bande
$41.99CDDeutsche Harmonia Mundi
Jan 28, 2010DHM77144 -
Haydn: Symphonies 101 & 102 / S. Kuijken, La Petite Bande
$17.99CDDeutsche Harmonia Mundi
May 30, 2008DHM77351 -
![]()
-
![]()
-
Bach: Weihnachtsoratorium / Kuijken, La Petite Bande
$21.99CDChallenge Classics
Oct 13, 2023CC 72966 -
![]()
-
![]()
-
On SaleHandel: Partenope / Kuijken, Jacobs, Laki, La Petite Bande
CD$18.98$14.99Sony Masterworks
Aug 14, 201588697529972 -
![]()
-
![]()
-
On SaleBach: St. Matthew Passion / Kuijken, La Petite Bande
CD$23.99$17.99Challenge Classics
Apr 21, 2023CC 72962 -
BACH: HARPSICHORD CONCERTOS VOL.2
$20.17CDACCENT
Mar 06, 2026ACCW24417.2 -
WEIHNACHTSORATORIUM
$26.99SACDChallenge Classics
Apr 12, 2019CC 72806 -
![]()
-
![]()
-
Corelli: 6 Concerti Grossi Op 6 No 1-6 / Kuijken, Et Al
$11.99CDSony Masterworks
Jul 11, 200005472774322 -
Vespro della Beata Vergine
$26.99CDChallenge Classics
Oct 03, 2008CC76613 -
Haydn: London Symphonies Nos 99 & 100 / Kuijken, Petite Band
$14.86CDRCA
May 09, 1995RCA77328.2 -
![]()
-
![]()
-
On SaleMy First Christmas Album
CD$19.99$9.99Naxos
Nov 11, 20168578340 -
![]()
-
![]()
-
O Vos Amici Mei Carissimi / Nisini, Instrumenta Musica
$8.99CDRamee
Sep 01, 2009RAM0805 -
On SaleBach: Clavier Ubung Vol 1 / Benjamin Alard
CD$29.99$22.99Alpha
May 11, 2010ALPHA157 -
On SaleChansons 1957-1962 - Scoubidou, Personnalites, Mon beau chap
CD$32.99$24.99Frémeaux
Jan 23, 2026FA5884
Rameau: Zoroastre / Kuijken, La Petite Bande
Deutsche Harmonia Mundi
Available as
CD
$41.99
Jan 28, 2010
A major achievement - John Elwes is a stylish and eloquent Zoroastre and Gregory Reinhart makes a formidable Abramane with a commanding vocal presence. Rameau's Zoroastre should afford enduring pleasure.
Here once more, but in a new CD format, is Zoroastre, Rameau's penultimate tragedie-lyrique. Readers who bought the earlier CD issue when Deutsche Harmonia Mundi were distributed by EMI (1/88) will not be amused to learn that a new booklet has been prepared for the BMG release; this contains the full text of the opera, legibly printed and now with an English translation. Thanks are due to BMG for repackaging an otherwise excellent product, thus making it accessible to a wider listenership.
Zoroastre was first performed in Paris in 1749 and was, by and large, well received. But the librettist, Cahusac was taken to task by some for relegating the love element in the opera to a secondary place. When it was revived in 1756 Cahusac made shifts of emphasis within the plot and it is this version as it first appeared, rather than that which involved yet further small changes later in the season, which is performed here. The libretto deals with the conflict between Good and Evil or Light and Darkness central to Zoroastrianism. Oromases, King of the Genies, represents the former and has Zoroastre as his high priest, while Abramane, high priest of the Temple of Darkness represents the latter. The chief protagonists in the drama are Zoroastre and Abramane who vie for power, glory and love; their characters are skilfully and often strikingly portrayed by Rameau, whose score is richly endowed with bold dashes of colour.
I very much liked this performance when it was first issued on LP in 1984 and feel much the same about it now. John Elwes is a stylish and eloquent Zoroastre and Gregory Reinhart makes a formidable Abramane with clear diction and a resonant, commanding vocal presence. His "Osons achever de grands crimes" (Act 3 scene 2) with its syncopated accompaniment and characteristically effective bassoon writing, is especially noteworthy. As I have remarked in previous reviews, the three principal female roles are sung well though I should have liked greater aural contrasts between them. Agnes Mellon as the innocent Cephie is a particularly happy piece of casting, though Mieke van der Sluis as the jealous Erinice is rather less so. Her voice is a warmly alluring one but seems ill-suited to the darker shades of this character. Greta de Reyghere brings warmth and clarity to the role of Amelite though she does not entirely succeed in conveying the danger and unpleasantness of her predicament.
La Petite Bande is on its liveliest form and Sigiswald Kuijken's direction reveals an insight into and affection for Rameau's music. In spite of some reservations, this is a major achievement and the work one that should not be omitted from any serious opera or baroque enthusiast's library. The recorded sound is excellent and as I have already indicated, the discs are now accompanied by an informative and helpful booklet. Rameau's Zoroastre should afford enduring pleasure.
-- Gramophone [6/1991]
Here once more, but in a new CD format, is Zoroastre, Rameau's penultimate tragedie-lyrique. Readers who bought the earlier CD issue when Deutsche Harmonia Mundi were distributed by EMI (1/88) will not be amused to learn that a new booklet has been prepared for the BMG release; this contains the full text of the opera, legibly printed and now with an English translation. Thanks are due to BMG for repackaging an otherwise excellent product, thus making it accessible to a wider listenership.
Zoroastre was first performed in Paris in 1749 and was, by and large, well received. But the librettist, Cahusac was taken to task by some for relegating the love element in the opera to a secondary place. When it was revived in 1756 Cahusac made shifts of emphasis within the plot and it is this version as it first appeared, rather than that which involved yet further small changes later in the season, which is performed here. The libretto deals with the conflict between Good and Evil or Light and Darkness central to Zoroastrianism. Oromases, King of the Genies, represents the former and has Zoroastre as his high priest, while Abramane, high priest of the Temple of Darkness represents the latter. The chief protagonists in the drama are Zoroastre and Abramane who vie for power, glory and love; their characters are skilfully and often strikingly portrayed by Rameau, whose score is richly endowed with bold dashes of colour.
I very much liked this performance when it was first issued on LP in 1984 and feel much the same about it now. John Elwes is a stylish and eloquent Zoroastre and Gregory Reinhart makes a formidable Abramane with clear diction and a resonant, commanding vocal presence. His "Osons achever de grands crimes" (Act 3 scene 2) with its syncopated accompaniment and characteristically effective bassoon writing, is especially noteworthy. As I have remarked in previous reviews, the three principal female roles are sung well though I should have liked greater aural contrasts between them. Agnes Mellon as the innocent Cephie is a particularly happy piece of casting, though Mieke van der Sluis as the jealous Erinice is rather less so. Her voice is a warmly alluring one but seems ill-suited to the darker shades of this character. Greta de Reyghere brings warmth and clarity to the role of Amelite though she does not entirely succeed in conveying the danger and unpleasantness of her predicament.
La Petite Bande is on its liveliest form and Sigiswald Kuijken's direction reveals an insight into and affection for Rameau's music. In spite of some reservations, this is a major achievement and the work one that should not be omitted from any serious opera or baroque enthusiast's library. The recorded sound is excellent and as I have already indicated, the discs are now accompanied by an informative and helpful booklet. Rameau's Zoroastre should afford enduring pleasure.
-- Gramophone [6/1991]
Haydn: Symphonies 101 & 102 / S. Kuijken, La Petite Bande
Deutsche Harmonia Mundi
Available as
CD
$17.99
May 30, 2008
These two symphonies were composed for Haydn's second visit to London, during the winter months of 1794-95. He knew the musicians for whom he was writing, and they were a virtuoso ensemble. Therefore these are among the largest scaled, most technically demanding among all his symphonies.
Kuijken's performances are very direct and fresh. His ensemble sounds on the small side for the music, which means that there are fewer strings than there might be. How this would affect a live performance would of course depend upon the size of the chosen venue. In a recording, one can only judge on the end result, and while the sound has good perspective and balance, the strings in both symphonies do sound somewhat 'under nourished'. This may be the recording, may be the playing, may be the lack of sufficient numbers to make an ample sound in tuttis. On the other hand, it may well be intended.
Kuijken's band is full of splendid musicians, and they play on original instruments. The strings use gut rather than wire, and there is little bloom and less vibrato in their sound. Too little of each for my taste, in fact, and in these symphonies this seems less appropriate than it did in the companion performances of the earlier Paris symphonies, composed during the previous decade.
Kuijken's tempi and phrasing are eminently sane and deliver some exciting rhythmic purpose to proceedings. The fast sections develop tellingly out of the slow introductions, and the overall balancing of the movements is highly effective. In fact the music sounds best in the two finales, which reveal the composer's uniquely bubbling wit.
Although the slow movements are expertly paced, in No. 102 especially the lack of bloom in the string sound denies the music some of its intensity and line. For this Adagio movement can stand a slower, more eloquent expression than this. At face value what Kuijken chooses is perfectly fine, but try alternatives such as Sir Colin Davis and the Concertgebouw (Philips) or Eugen Jochum and the London Philharmonic, and the extra richness pays dividends.
These performances have undoubted merits, and are recommended particularly to enthusiasts devoted to the 'original instrument' sound. For the more indulgent listener, it is probably best to try elsewhere. In an ideal world, these do make excellent alternatives to the larger collection, opening up fresh vistas on two great symphonies.
-- Terry Barfoot, MusicWeb International Reviewing DHM 77859
Kuijken's performances are very direct and fresh. His ensemble sounds on the small side for the music, which means that there are fewer strings than there might be. How this would affect a live performance would of course depend upon the size of the chosen venue. In a recording, one can only judge on the end result, and while the sound has good perspective and balance, the strings in both symphonies do sound somewhat 'under nourished'. This may be the recording, may be the playing, may be the lack of sufficient numbers to make an ample sound in tuttis. On the other hand, it may well be intended.
Kuijken's band is full of splendid musicians, and they play on original instruments. The strings use gut rather than wire, and there is little bloom and less vibrato in their sound. Too little of each for my taste, in fact, and in these symphonies this seems less appropriate than it did in the companion performances of the earlier Paris symphonies, composed during the previous decade.
Kuijken's tempi and phrasing are eminently sane and deliver some exciting rhythmic purpose to proceedings. The fast sections develop tellingly out of the slow introductions, and the overall balancing of the movements is highly effective. In fact the music sounds best in the two finales, which reveal the composer's uniquely bubbling wit.
Although the slow movements are expertly paced, in No. 102 especially the lack of bloom in the string sound denies the music some of its intensity and line. For this Adagio movement can stand a slower, more eloquent expression than this. At face value what Kuijken chooses is perfectly fine, but try alternatives such as Sir Colin Davis and the Concertgebouw (Philips) or Eugen Jochum and the London Philharmonic, and the extra richness pays dividends.
These performances have undoubted merits, and are recommended particularly to enthusiasts devoted to the 'original instrument' sound. For the more indulgent listener, it is probably best to try elsewhere. In an ideal world, these do make excellent alternatives to the larger collection, opening up fresh vistas on two great symphonies.
-- Terry Barfoot, MusicWeb International Reviewing DHM 77859
Bach: Weihnachtsoratorium / Kuijken, La Petite Bande
Challenge Classics
Available as
CD
$21.99
Oct 13, 2023
Reissue. Originally released in 2014. The audio clip below associated with this release is from the original issuance of this title. - ArkivMusic
An account that reflects the latest information and researches on 'period instruments' practice. A 'one to a part' standard - for both voices and instruments.
The Christmas Oratorio is actually not an ‘oratorio’ in the mold of, for instance, Bach’s Ascension Oratorio or Handel’s Messiah. It is a series of 6 separate cantatas, collectively relating the story from Christmas through to Twelfth Night. Bach wrote the work in Leipzig in 1734 and 1735 for Christmas Day (I), Boxing day (II), the third day of Christmas (III), New Year (IV), the Sunday after New Year (V), and Twelfth Night (VI).
As with the Passions, the texts here are drawn from three sources: (1) the evangelical texts (primarily Luke and Matthew) intoned by the Evangelist (tenor) as recitatives, (2) chorales from the Lutheran tradition and (3) free texts for arias and some choral passages, written by the poet Picander.
Handel: Partenope / Kuijken, Jacobs, Laki, La Petite Bande
Sony Masterworks
Available as
CD
Elsewhere in this issue, in choosing the records of the year, I have singled Out the new version of Handel's opera Admeto for its broadly successful attempt at a true Handelian style. Well, those words were no sooner in the post to the Editor than I heard this new set, which considerably surpasses it in almost all regards: indeed this seems to me comfortably the best Handel opera recording I have heard. It is an easier opera to perform than the heroic ones of the 1720s (at least, to perform on records; perhaps it is not so easy on the stage— though I remember with pleasure its only English revival, at Abingdon in 1961). Partenope was written in 1730, for the first season of what was called the 'new Academy', run by Handel himself and his manager, after the collapse and the discrediting of the Royal Academy, of which Handel had been salaried musical director and which had organized opera in London since 1720. Handel now had a new team of singers, and the operas he wrote for them show distinctly the influence of the works he encountered during his talent-spotting trip to Italy. Partenope does so in particular. It is to a libretto by Silvio Stampiglia, markedly influenced by the vein of ironic humour popular in Venetian opera. The plot concerns the founding queen of Naples, Parthenope, and her various suitors, one of whom (Arsaces) deserted his betrothed (Rosmira) to woo her, and is pursued by Rosmira who in male clothes is herself masquerading as an admirer of Parthenope. The musical idiom beautifully catches the vivacity, the ironic wit, the gentle ardour and the charm that distinguish the plot. The musical textures are for the most part light and airy; there is more of rapid music than in most of Handel's operas; the phrase structure is simpler; and the vocal colour is different from usual—dictated, to be sure, by the particular cast Handel had at his disposal, yet characteristically he turned to positive ends the fact that he had only one soprano (Parthenope), one tenor, one baritone and all the rest altos of one kind or another. The orchestral texture, more often than usual, consists of just a violin line and continuo: the occasional more fully-scored aria, like Emilius's in Act I with its rich semi-contrapuntal string writing, or Rosmira's brilliant hunting aria with oboes and horns to end the act, accordingly makes a striking effect—and none more so than Arsaces's G minor lament, with muted violins, moaning flutes, theorbo and pizzicato basses, near the end of the opera. There are several ensemble numbers, including a trio and a quartet, but as the characters rarely sing simultaneously this does not make a geat deal of difference.
In Adnseto I questioned the wisdom of using so small an orchestra. Here the orchestra is much the same size, but it is about right since the music is so much less heroic in temper. It would perhaps be cynical to suggest that Handel, now he had to pay the bills himself, wrote music that worked well with fewer players; but with Partenope it could be not far from the truth. The group here p1a(s superbly: there is a dash and a sparkle to the string playing that makes the rapid passage work a real joy to listen to; the bass is firm and shapely; the wind playing is on the whole very well tuned; and the continuo playing provides sensible and unobtrusive support. Above all, the direction has the kind of rhythmic breadth and sense of purpose that I had despaired of meeting in an 'authentic' performance. Too often Handel's stature is diminished, the grandeur of his designs whittled down, by short-breathed and finicky phrasing. Here, in authentic timbres, Handel emerges as the giant he always did under the Woods and the Sargents, but without any over-inflation. This is greatly to the credit of the musicianship of Sigiswald Kuijken and his players. His orchestra has strings numbering 5.5.2.3.2, with four oboes and two bassoons, and pairs of flutes and horns and a trumpet as needed.
As for the singing, there are two names new to me of which I shall hope to hear very much more. One is the Parthenope, Krisztina Laki, a fluent and agile soprano with a happy glitter to her voice. She copes comfortably with the difficult divisions, and brings a suitably light expressive touch to the slower arias; altogether an accomplished and promising performance and an intelligent interpretation. Even more striking, perhaps, is the Rosmira of Helga Muller Molinari—plumb in her intonation (more so than anyone else in the cast), and capable of infusing her passage work with genuine vigour and passion. The angry C minor aria in the Second Act is magnificent, a real musical explosion of wrath; but the love music too is finely done. The timbre itself is not extraordinary, but the voice is perfectly focused and controlled. With the Arsaces (and this is the biggest part, composed for the famous castrato Bernacchi) I am less happy; as in Admeto, René Jacobs swoops and swoons too much, in a mannered way, and is not dependable over pitch. John York Skinner gives a capable account of the role of Armindus, Parthenope's ultimately successful lover, best in the direct style of his Act III aria than in the more expressive earlier ones. Martyn Hill as Emilius is firm and clear in the tenor arias, and accurate and expressive too; and Stephen Varcoe does his single aria in a pleasantly clean and light manner, without any booming or ranting.
Handelians may object, with some justification, that there is insufficient ornamentation in this set. That is true. Here and there a cadence crying for a trill is . . . well, left crying; and even the da caps sections of the arias are mostly sung without elaboration, which we know is contrary to Handel's expectation. Still, it is far better to do nothing than to do something wrongly or tastelessly, and that is particularly true in recordings, where one does not want to hear the same piece of bad decoration every time. Jacobs decorates a little, and some of the others do, too, very modestly. I wish a little more effort had been made over achieving a performing style a little more accurate and historical in this respect. On the other hand, I have nothing but praise for the execution of the recitatives, which (given in a form more complete than in the Handel-Gesellschaft score) move along quickly and conversationally, with the cadences correctly elided, while losing nothing of their dramatic force or their meaning from these excellent, and obviously well coached, singers. Altogether this set can be warmly recommended to lovers of Handel operas—and indeed to others too, who might find themselves drawn to become lovers of these masterpieces.
-- S.S., Gramophone [12/1979] Reviewing original LP
In Adnseto I questioned the wisdom of using so small an orchestra. Here the orchestra is much the same size, but it is about right since the music is so much less heroic in temper. It would perhaps be cynical to suggest that Handel, now he had to pay the bills himself, wrote music that worked well with fewer players; but with Partenope it could be not far from the truth. The group here p1a(s superbly: there is a dash and a sparkle to the string playing that makes the rapid passage work a real joy to listen to; the bass is firm and shapely; the wind playing is on the whole very well tuned; and the continuo playing provides sensible and unobtrusive support. Above all, the direction has the kind of rhythmic breadth and sense of purpose that I had despaired of meeting in an 'authentic' performance. Too often Handel's stature is diminished, the grandeur of his designs whittled down, by short-breathed and finicky phrasing. Here, in authentic timbres, Handel emerges as the giant he always did under the Woods and the Sargents, but without any over-inflation. This is greatly to the credit of the musicianship of Sigiswald Kuijken and his players. His orchestra has strings numbering 5.5.2.3.2, with four oboes and two bassoons, and pairs of flutes and horns and a trumpet as needed.
As for the singing, there are two names new to me of which I shall hope to hear very much more. One is the Parthenope, Krisztina Laki, a fluent and agile soprano with a happy glitter to her voice. She copes comfortably with the difficult divisions, and brings a suitably light expressive touch to the slower arias; altogether an accomplished and promising performance and an intelligent interpretation. Even more striking, perhaps, is the Rosmira of Helga Muller Molinari—plumb in her intonation (more so than anyone else in the cast), and capable of infusing her passage work with genuine vigour and passion. The angry C minor aria in the Second Act is magnificent, a real musical explosion of wrath; but the love music too is finely done. The timbre itself is not extraordinary, but the voice is perfectly focused and controlled. With the Arsaces (and this is the biggest part, composed for the famous castrato Bernacchi) I am less happy; as in Admeto, René Jacobs swoops and swoons too much, in a mannered way, and is not dependable over pitch. John York Skinner gives a capable account of the role of Armindus, Parthenope's ultimately successful lover, best in the direct style of his Act III aria than in the more expressive earlier ones. Martyn Hill as Emilius is firm and clear in the tenor arias, and accurate and expressive too; and Stephen Varcoe does his single aria in a pleasantly clean and light manner, without any booming or ranting.
Handelians may object, with some justification, that there is insufficient ornamentation in this set. That is true. Here and there a cadence crying for a trill is . . . well, left crying; and even the da caps sections of the arias are mostly sung without elaboration, which we know is contrary to Handel's expectation. Still, it is far better to do nothing than to do something wrongly or tastelessly, and that is particularly true in recordings, where one does not want to hear the same piece of bad decoration every time. Jacobs decorates a little, and some of the others do, too, very modestly. I wish a little more effort had been made over achieving a performing style a little more accurate and historical in this respect. On the other hand, I have nothing but praise for the execution of the recitatives, which (given in a form more complete than in the Handel-Gesellschaft score) move along quickly and conversationally, with the cadences correctly elided, while losing nothing of their dramatic force or their meaning from these excellent, and obviously well coached, singers. Altogether this set can be warmly recommended to lovers of Handel operas—and indeed to others too, who might find themselves drawn to become lovers of these masterpieces.
-- S.S., Gramophone [12/1979] Reviewing original LP
Bach: St. Matthew Passion / Kuijken, La Petite Bande
Challenge Classics
Available as
CD
Read our exclusive interview with Sigiswald, Marie, and Sara Kuijken!
Magnificent and transparent, a recording of the famous masterpiece by J.S. Bach by La Petite Bande and Sigiswald Kuijken. The ensemble has a worldwide reputation of aiming for the most authentic sound possible. Again Kuijken and his group of musicians and vocalists have achieved this the most sublime way! By using authentic instruments and the original way of playing them, both in interpretation and sound quality, La Petite Bande strives to revive baroque music as faithfully as possible without lapsing into rigid academics.
BACH: HARPSICHORD CONCERTOS VOL.2
ACCENT
Available as
CD
$20.17
Mar 06, 2026
Ond of which is now available. Belgian harpsichordist Mario Sarrechia plays the solo part in the two concertos BWV 105Johann Sebastian Bach wrote six harpsichord concertos and compiled them in a volume around 1738. Most of his concertos for one or more harpsichords are probably arrangements of earlier concertos, mostly by Bach himself. The 'grand seigneur of early music' Sigiswald Kuijken combines Bach's six harpsichord concertos and the three double concertos for two harpsichords with the two violin concertos and the double concerto for two violins, which Bach also arranged as harpsichord concertos. All twelve concertos appear in a series of three CDs, the sec2 & 1058, Taiwanese harpsichordist Hsiu-Tzu Ryanas in the concerto BWV 1056, and Sigiswald Kuijken himself takes the solo in the violin concerto BWV 1042. Sigiswald Kuijken casts all the orchestral parts as soloists, as is customary with La Petite Bande and as was probably also practised by Bach - a theory that Kuijken underpins with ample evidence.
WEIHNACHTSORATORIUM
Challenge Classics
Available as
SACD
$26.99
Apr 12, 2019
The Christmas Oratorio is a series of six separate cantatas, collectively relating the story from Christmas through to Twelfth Night. Bach wrote the work in Leipzig in 1734 and 1735 for Christmas Day, Boxing Day, the third day of Christmas, New Year, the Sunday after New Year, and Twelfth Night. As with the Passions, the texts here are drawn from three sources: the evangelical texts intoned by the Evangelist as recitatives, chorales from the Lutheran tradition and free texts for arias and some choral passages, written by the poet Picander. This performance is perhaps as close as presently possible to what we imagine Bach might have had in mind as he composed the work in Leipzig. First of all, we have the 'one to a part' aspect: historical research among the various sources clearly shows that Bach did not ask for a choir to perform his cantatas, but simply a vocal quartet. This 'single line singing' certainly adds to the individual expression of the text and the music's transparency. Bach's religious music always uses the text as it's starting point and a great deal of attention is therefore paid to correct enunciation. The vocal principle of 'one to a part' also has a major influence on the instrumental forces. Bach employed a small-scale string ensemble, as well as single wind instruments where appropriate, all supported by an organ, which formed the continuo in conjunction with the bass violin. And since the instrumental music is also completely permeated by the rhetoric that stems from the text, the transparency of this small ensemble intertwines seamlessly with the vocal lines, giving a refined polyphony that reached it's zenith in Bach's music.
Corelli: 6 Concerti Grossi Op 6 No 1-6 / Kuijken, Et Al
Sony Masterworks
Available as
CD
$11.99
Jul 11, 2000
La Petite Bande recorded its set during the late 1970s and these are performances which do considerable justice to the music. Brisker tempos, lighter bass string playing and an altogether more imaginative approach to continuo realization bring these concertos alive to an extent hardly realised by I Musici. Sigiswald Kuijken, the leader and director of La Petite Bande, includes a theorbo in his continuo group and this is invariably an effective addition... [I]n matters of baroque style, as in its more highly developed spirit of fantasy, La Petite Bande offers satisfying performances.
-- Nicholas Anderson, Gramophone [9/1990]
-- Nicholas Anderson, Gramophone [9/1990]
Vespro della Beata Vergine
Challenge Classics
Available as
CD
$26.99
Oct 03, 2008
Classical Music
Haydn: London Symphonies Nos 99 & 100 / Kuijken, Petite Band
RCA
Available as
CD
$14.86
May 09, 1995
LONDON SYMPHONIES 99 & 100
My First Christmas Album
Naxos
Available as
CD
Can you imagine Christmas without music? No singing, no jingling. Only Scrooge would be happy with that! It is a time for music to fill the air. Part of the fun is hearing things that are only played at Christmas and at no other time of year - carols that make you think of the end of term, or the holidays or bobble hats - songs that make you think of food, or snow, or stockings. Here are some of the most popular carols, as well as some other surprises...Merry Christmas!
REVIEWS:
I have always been a great believer in the importance of presenting music of the highest possible quality regardless of the potential audience. This is done here — for the adult listener there is real interest and fascination in hearing such a wide range of choral styles.
I loved the predictably fine Lutoslawski/ Antoni Wit Polish National RSO & Choir Hurrying to Bethlehem. Again quite a different choral tone. Otto Kotilainen’s Finnish Kun Joulu on is something of a discovery beautifully performed—a lighter tone than the Polish choir but very expressive by the Finnish choir Chorus Resonus. Another virtuoso vocal group prove to be La Petite Bande de Montreal who contribute a brief but virtuosic Carol of the Bells. Jeremy Summerly’s Oxford Camerata are suitably vigorous in the Medieval Gaudete Christus est natus. As indeed is For Unto us from the Messiah from Edward Higginbottom, the Academy of Ancient Music and Oxford New College Choir. This is a delightfully sprung and sprightly version of an old favourite. Most of the carols are sung with little or no accompaniment other than the expected organ or keyboard. This makes the full orchestral version of Vaughan Williams’ Wassail Song particularly enjoyable.
So all in all a disc of palpable hits in terms of music and performance, and certainly something for the stocking of a young relative. No texts or translations are included. Well done to Naxos for producing a disc of great entertainment value but without compromising the artistic merit of it either.
-- MusicWeb International
If you’re looking for a Christmas album that the kids will like but won’t drive you up the wall, try this. It’s one of a series of Naxos CDs that try and introduce children to classical music...
Most of your favorite Christmas carols are on here, along with Rudolph the Red-Nosed Reindeer and the Sugar Plum Fairy. For a Christmas album, it gets high praise: it’s not annoying, and only Scrooge could really find fault. It also introduces the small ones to classical playing.
-- The Chronicle
O Vos Amici Mei Carissimi / Nisini, Instrumenta Musica
Ramee
Available as
CD
$8.99
Sep 01, 2009
Città della musica is an appropriate epithet for Venice if one imagines all the musicians working in religious and secular institutions during the 16th and 17th centuries, and in the hospitals and palaces of the city's patricians; not to mention the extent to which the music-publishing industry of the city spread across the entire world. If not the destination, Venice was at the very least an essential stopover for all who, in one way or another, maintained links, whatever their strength, with music. The music composed and heard in Venice and its surroundings was a model which every musician, whether Venetian, Italian or trans-alpine strove to know, if not imitate. Carlo Filago, whose works are performed here for the first time since the time of their creation, was without doubt one of the outstanding Venetian musical personalities of the first half of the 17th century, and one of the greatest organists of his time. First organist at St Mark's under the master of the chapel Claudio Monteverdi, he had at once the good fortune to work with one of the greatest musicians of the western tradition, and the bad luck to remain in his shadow, subsequently to be forgotten for centuries, despite being comparably gifted. Filago's work is like a magnificent, shimmering tableau, lying for centuries under the dust in an attic. Today, finally brought to light, it easily withstands exposure, as well as comparison with the works of the great masters of its time. The ambition of the present recording is to allow these treasures — otherwise hidden within the history of music — to be heard again.
Constanze Backes, soprano
Gerlinde Sämann, soprano
Hermann Oswald, alto
Markus Flaig, bass
INSTRUMENTA MUSICA is specialised in German and Italian music of the late Renaissance and the early Baroque period, focussing on repertoire largely neglected until now. The ensemble concentrates on research into an historically appropriate instrumentarium, sometimes experimenting with new ways of using instruments well described in historical sources but often ignored in performance practice today. The copies of historical instruments used are as faithful as possible to their originals. The intention of the ensemble is to make the beauty and affective richness of the music of this period accessible in an authentic and intuitive way. Instrumenta Musica is closely connected with the Frauenkirche in Dresden, where the ensemble has regularly played since 2006 during the parish fairs, mostly performing works by Heinrich Schütz. Instrumenta Musica also works regularly with Officium (Wilfried Rombach), the chamber choir of the Dresden Frauenkirche directed by cantor Matthias Grünert, Sächsisches Vokalensemble (Matthias Jung) and Les Amis de Philippe (Ludger Rémy).
ERCOLE NISINI is one of the most sought-after trombonists playing on historical instruments. After having studied modern trombone with Abbie Conant in Trossingen and holding a position in the Orchestra Sinfonica di Milano under the direction of Riccardo Chailly he fully dedicated himself to historical performance practice. He completed his studies of historical trombone with Wim Becu at the Institut für Alte Musik in Trossingen with distinction. His interest in, and passion for, the repertoire and the instrumentarium of the late Renaissance and the early Baroque periods led him in 2004 to found the ensemble Instrumenta Musica. Ercole Nisini has performed in numerous concerts, CD and broadcast recordings throughout Europe with ensembles such as La Petite Bande, Marini Consort Innsbruck, Orchestre des Champs-Élysées, Moderntimes_1800, Capriccio Stravagante, Weser-Renaissance, and Musica Fiata. The central aim of his work is to rediscover and revive the trombone repertoire from the Renaissance to the Romantic period using original instruments — or faithful copies of them — and appropriate playing techniques.
Constanze Backes, soprano
Gerlinde Sämann, soprano
Hermann Oswald, alto
Markus Flaig, bass
INSTRUMENTA MUSICA is specialised in German and Italian music of the late Renaissance and the early Baroque period, focussing on repertoire largely neglected until now. The ensemble concentrates on research into an historically appropriate instrumentarium, sometimes experimenting with new ways of using instruments well described in historical sources but often ignored in performance practice today. The copies of historical instruments used are as faithful as possible to their originals. The intention of the ensemble is to make the beauty and affective richness of the music of this period accessible in an authentic and intuitive way. Instrumenta Musica is closely connected with the Frauenkirche in Dresden, where the ensemble has regularly played since 2006 during the parish fairs, mostly performing works by Heinrich Schütz. Instrumenta Musica also works regularly with Officium (Wilfried Rombach), the chamber choir of the Dresden Frauenkirche directed by cantor Matthias Grünert, Sächsisches Vokalensemble (Matthias Jung) and Les Amis de Philippe (Ludger Rémy).
ERCOLE NISINI is one of the most sought-after trombonists playing on historical instruments. After having studied modern trombone with Abbie Conant in Trossingen and holding a position in the Orchestra Sinfonica di Milano under the direction of Riccardo Chailly he fully dedicated himself to historical performance practice. He completed his studies of historical trombone with Wim Becu at the Institut für Alte Musik in Trossingen with distinction. His interest in, and passion for, the repertoire and the instrumentarium of the late Renaissance and the early Baroque periods led him in 2004 to found the ensemble Instrumenta Musica. Ercole Nisini has performed in numerous concerts, CD and broadcast recordings throughout Europe with ensembles such as La Petite Bande, Marini Consort Innsbruck, Orchestre des Champs-Élysées, Moderntimes_1800, Capriccio Stravagante, Weser-Renaissance, and Musica Fiata. The central aim of his work is to rediscover and revive the trombone repertoire from the Renaissance to the Romantic period using original instruments — or faithful copies of them — and appropriate playing techniques.
Bach: Clavier Ubung Vol 1 / Benjamin Alard
Alpha
Available as
CD
No entries show up in the Fanfare Archive for Benjamin Alard, which I suppose shouldn’t be surprising, since counting this new release his discography numbers only two recordings according to ArkivMusic; the other, also on Alpha, is a CD of Bach’s trio sonatas for organ. His official bio, however, cites two other CDs on a label, Editions Hortus, that may have limited distribution outside of France.
Born in 1985, the French Alard is both an award-winning harpsichordist and organist who studied at the Schola Cantorum Basiliensis. At 25, he has already performed with leading period-instrument ensembles, such as La Petite Bande under Sigiswald Kuijken and Capriccio Stravagante under Skip Sempé, and he has established himself as a leading presence as a keyboard artist on the early-music scene, participating in a number of international festivals.
Going up against established masters in this repertoire—and for apples-to-apples comparison I cite only harpsichordists—such as Christophe Rousset, Pieter-Jan Belder, Ralph Kirkpatrick, Gustav Leonhardt, Trevor Pinnock, Igor Kipnis, and Blandine Verlet—the young Alard has stones; you’ve got to give him that. The question is does he have the goods to pull it off? And the answer, in a word, is “yes.”
The six keyboard partitas that comprise Part I of Bach’s Clavier-Übung (Keyboard Practice) in its totality are arguably the pinnacle of the composer’s works for solo harpsichord. Though they are among Bach’s earliest pieces to be published (they appeared in print between 1726 and 1730), they are actually the last of his three sets of keyboard suites to be written. (They were composed between 1725 and 1730–31.) The English Suites were composed sometime between 1715 and 1720, and the French Suites, between 1722 and 1725. We may therefore assume that the partitas are a summation, up to that time, of Bach’s compositional style and technique as applied to the harpsichord, for which they were written.
Speculation has it that Bach intended to write a seventh partita, perhaps as a tribute to his predecessor in Leipzig, Johann Kuhnau, who had published two volumes of his own Neue Clavier-Übung, each containing seven partitas. Bach’s choice of keys for his six partitas does suggest a planned seventh that would have had to be in F Major to complete the scheme; indeed, F Major is the key of the Italian Concerto that opens the Clavier-Übung, part II. Is it possible that the movements of the Italian Concerto would have been incorporated into the seventh, missing, partita? It’s an interesting theory.
In three out of the six partitas, Bach pretty much follows standard operating procedure vis-à-vis succession of movements. All six partitas, without exception, begin with an introductory movement, though fancifully, perhaps, Bach calls each by a different name: Praeludium, Sinfonia, Fantasia, Ouverture, Praeambulum, and Toccata. These are followed in Nos. 1, 3, and 5 by the customary stylized dance movements: Allemande, Courante (or Corrente, depending on whether Bach was in French or Italian mood), and Sarabande. Again, in all six partitas, one or more take-your-pick dance movements, such as Menuet, Gavotte, Passepied, etc., are inserted after the Sarabande. And in all but No. 2, the partitas end with the customary concluding Gigue. But No. 2, one of the three “irregulars,” ends with a movement Bach calls Capriccio, which is not in the usual 6/8 or 12/8 gigue meter, but in 2/4, so it’s not just another gigue by a whimsical name.
In the two remaining “irregular” partitas, Nos. 4 and 6, Bach gets cutesy with the standard layout of movements, inserting an Aria or Air in between the Courante and Sarabande, so that we end up with insertions both before the Sarabande and after it. To mix it up further, in No. 4, Bach calls his Courante by its French name, but the Aria that follows it by its Italian name; whereas in No. 6, he reverses himself, calling his Corrente by its Italian name and his Air by its French name. Whether this has some special significance or not, I don’t know, but is it too much to imagine that Bach wasn’t the stern wig he’s often portrayed as, and that he was just being mischievous? The aforementioned Capriccio movement offers ample evidence of the composer’s off-the-wall humor; it’s a real ear-tickler.
A final footnote to this whole business is that at one point the partitas came close to being called German Suites to complement the already written English and French Suites, which, technically speaking, are no more English or French, respectively, than are the partitas German. And who would know better than Christophe Rousset? Harpsichordist, Baroque music specialist, and Frenchman, he has observed that all of Bach’s keyboard suites follow a largely Italian convention.
Now, back in Fanfare 27:4, Patrick Meanor reviewed a recording of the partitas on the Satirino label performed by harpsichordist Kenneth Weiss. That was in 2004. Six years later, as inexplicably but often happens, the same album was sent to the magazine to be reviewed again, and this time, as recently as 33:5, it was assigned to Christopher Brodersen. The American-born Weiss has long been active on the Parisian period-instrument scene, having collaborated with William Christie and Les Arts Florissants for many years. In any case, both Meanor and Brodersen found much to rave about in Weiss’s readings, which the harpsichordist performs on a copy of a Gottfried Silbermann instrument built by Anthony Sidey. I missed Meanor’s earlier review, but based on Brodersen’s glowing account, I decided to acquire the Weiss on my own. Contra my colleagues, I found Sidey’s harpsichord, or Satirino’s recording of it, hard and metallic sounding and fatiguing to listen to. So, only in part for that reason, Weiss’s recording would not have received my recommendation had I reviewed it.
That is not the case with the sound of Alard’s harpsichord, which is also modeled after a German instrument by Sidey. It is captured perfectly at an ideal distance in the ambient and ever so slightly reverberant acoustic of the Chapelle Notre-Dame de Bon-Secours in Paris. Balanced throughout its registers, of crystal clarity in its voicing, and so dulcet of tone is this instrument that I found myself listening, enchanted, to all six partitas straight through without tiring of it.
If Meanor found Weiss’s performances “passionate,” “poignant,” “terrifying,” and “filled with existential dread,” I found them aggressive, driven, and in-your-face—other reasons, in addition to the aforementioned clangorous and clattering sound of the instrument, that Weiss is not to my liking. In contrast, I find Alard’s readings poetic, lyrical, filled with grace, and ultimately sublime. Perhaps it’s the difference between the American in Paris, Weiss, and the patrician elegance and refinement of the natural-born Frenchman, Alard.
In Alard’s playing, I hear a natural and logical connection to, and extension of, François Couperin and the French keyboard tradition, and I find it exquisitely beautiful. The style is manifested in Alard’s exceptionally imaginative, perfectly timed, and delightful agréments that he applies so tastefully in the binary repeats. Even in the fiendishly difficult Capriccio of the C-Minor Partita, which is already wacky enough as is with its oddball dissonances and harmonic excursions, Alard finds the time and space between the notes to add just the right zinger of an embellishment. Just listen to the mordents that trip by at 1:29 and again at 1:33 in the repeat of the A section. But there are other ways to embellish besides adding ornamental notes, and you can hear it in Alard’s playing of the repeated B section. Here the embellishing takes the form of coordinating the right and left hands differently than in the first time through, so that the syncopated and offbeat rhythms in the counterpoint take on a totally different emphasis.
The more I listened to these performances, the more I came to believe that there is as much genius in Alard’s conception of this music as there is in Bach’s creation of it. For me, this is now, and will be for the foreseeable future, the be-all and end-all of Bach keyboard partita recordings. The set is beautifully presented in a four-panel cardboard foldout with detailed, informative notes in French and English and enhanced by a wealth of photographs. If Weiss’s partitas show up on Brodersen’s 2010 Want List, Alard’s may well show up on mine. But whether it does or not (there are always hard choices to make), if you care about Bach on the harpsichord, you must not be without this release for another minute.
-- Jerry Dubins, FANFARE [9/2010]
Born in 1985, the French Alard is both an award-winning harpsichordist and organist who studied at the Schola Cantorum Basiliensis. At 25, he has already performed with leading period-instrument ensembles, such as La Petite Bande under Sigiswald Kuijken and Capriccio Stravagante under Skip Sempé, and he has established himself as a leading presence as a keyboard artist on the early-music scene, participating in a number of international festivals.
Going up against established masters in this repertoire—and for apples-to-apples comparison I cite only harpsichordists—such as Christophe Rousset, Pieter-Jan Belder, Ralph Kirkpatrick, Gustav Leonhardt, Trevor Pinnock, Igor Kipnis, and Blandine Verlet—the young Alard has stones; you’ve got to give him that. The question is does he have the goods to pull it off? And the answer, in a word, is “yes.”
The six keyboard partitas that comprise Part I of Bach’s Clavier-Übung (Keyboard Practice) in its totality are arguably the pinnacle of the composer’s works for solo harpsichord. Though they are among Bach’s earliest pieces to be published (they appeared in print between 1726 and 1730), they are actually the last of his three sets of keyboard suites to be written. (They were composed between 1725 and 1730–31.) The English Suites were composed sometime between 1715 and 1720, and the French Suites, between 1722 and 1725. We may therefore assume that the partitas are a summation, up to that time, of Bach’s compositional style and technique as applied to the harpsichord, for which they were written.
Speculation has it that Bach intended to write a seventh partita, perhaps as a tribute to his predecessor in Leipzig, Johann Kuhnau, who had published two volumes of his own Neue Clavier-Übung, each containing seven partitas. Bach’s choice of keys for his six partitas does suggest a planned seventh that would have had to be in F Major to complete the scheme; indeed, F Major is the key of the Italian Concerto that opens the Clavier-Übung, part II. Is it possible that the movements of the Italian Concerto would have been incorporated into the seventh, missing, partita? It’s an interesting theory.
In three out of the six partitas, Bach pretty much follows standard operating procedure vis-à-vis succession of movements. All six partitas, without exception, begin with an introductory movement, though fancifully, perhaps, Bach calls each by a different name: Praeludium, Sinfonia, Fantasia, Ouverture, Praeambulum, and Toccata. These are followed in Nos. 1, 3, and 5 by the customary stylized dance movements: Allemande, Courante (or Corrente, depending on whether Bach was in French or Italian mood), and Sarabande. Again, in all six partitas, one or more take-your-pick dance movements, such as Menuet, Gavotte, Passepied, etc., are inserted after the Sarabande. And in all but No. 2, the partitas end with the customary concluding Gigue. But No. 2, one of the three “irregulars,” ends with a movement Bach calls Capriccio, which is not in the usual 6/8 or 12/8 gigue meter, but in 2/4, so it’s not just another gigue by a whimsical name.
In the two remaining “irregular” partitas, Nos. 4 and 6, Bach gets cutesy with the standard layout of movements, inserting an Aria or Air in between the Courante and Sarabande, so that we end up with insertions both before the Sarabande and after it. To mix it up further, in No. 4, Bach calls his Courante by its French name, but the Aria that follows it by its Italian name; whereas in No. 6, he reverses himself, calling his Corrente by its Italian name and his Air by its French name. Whether this has some special significance or not, I don’t know, but is it too much to imagine that Bach wasn’t the stern wig he’s often portrayed as, and that he was just being mischievous? The aforementioned Capriccio movement offers ample evidence of the composer’s off-the-wall humor; it’s a real ear-tickler.
A final footnote to this whole business is that at one point the partitas came close to being called German Suites to complement the already written English and French Suites, which, technically speaking, are no more English or French, respectively, than are the partitas German. And who would know better than Christophe Rousset? Harpsichordist, Baroque music specialist, and Frenchman, he has observed that all of Bach’s keyboard suites follow a largely Italian convention.
Now, back in Fanfare 27:4, Patrick Meanor reviewed a recording of the partitas on the Satirino label performed by harpsichordist Kenneth Weiss. That was in 2004. Six years later, as inexplicably but often happens, the same album was sent to the magazine to be reviewed again, and this time, as recently as 33:5, it was assigned to Christopher Brodersen. The American-born Weiss has long been active on the Parisian period-instrument scene, having collaborated with William Christie and Les Arts Florissants for many years. In any case, both Meanor and Brodersen found much to rave about in Weiss’s readings, which the harpsichordist performs on a copy of a Gottfried Silbermann instrument built by Anthony Sidey. I missed Meanor’s earlier review, but based on Brodersen’s glowing account, I decided to acquire the Weiss on my own. Contra my colleagues, I found Sidey’s harpsichord, or Satirino’s recording of it, hard and metallic sounding and fatiguing to listen to. So, only in part for that reason, Weiss’s recording would not have received my recommendation had I reviewed it.
That is not the case with the sound of Alard’s harpsichord, which is also modeled after a German instrument by Sidey. It is captured perfectly at an ideal distance in the ambient and ever so slightly reverberant acoustic of the Chapelle Notre-Dame de Bon-Secours in Paris. Balanced throughout its registers, of crystal clarity in its voicing, and so dulcet of tone is this instrument that I found myself listening, enchanted, to all six partitas straight through without tiring of it.
If Meanor found Weiss’s performances “passionate,” “poignant,” “terrifying,” and “filled with existential dread,” I found them aggressive, driven, and in-your-face—other reasons, in addition to the aforementioned clangorous and clattering sound of the instrument, that Weiss is not to my liking. In contrast, I find Alard’s readings poetic, lyrical, filled with grace, and ultimately sublime. Perhaps it’s the difference between the American in Paris, Weiss, and the patrician elegance and refinement of the natural-born Frenchman, Alard.
In Alard’s playing, I hear a natural and logical connection to, and extension of, François Couperin and the French keyboard tradition, and I find it exquisitely beautiful. The style is manifested in Alard’s exceptionally imaginative, perfectly timed, and delightful agréments that he applies so tastefully in the binary repeats. Even in the fiendishly difficult Capriccio of the C-Minor Partita, which is already wacky enough as is with its oddball dissonances and harmonic excursions, Alard finds the time and space between the notes to add just the right zinger of an embellishment. Just listen to the mordents that trip by at 1:29 and again at 1:33 in the repeat of the A section. But there are other ways to embellish besides adding ornamental notes, and you can hear it in Alard’s playing of the repeated B section. Here the embellishing takes the form of coordinating the right and left hands differently than in the first time through, so that the syncopated and offbeat rhythms in the counterpoint take on a totally different emphasis.
The more I listened to these performances, the more I came to believe that there is as much genius in Alard’s conception of this music as there is in Bach’s creation of it. For me, this is now, and will be for the foreseeable future, the be-all and end-all of Bach keyboard partita recordings. The set is beautifully presented in a four-panel cardboard foldout with detailed, informative notes in French and English and enhanced by a wealth of photographs. If Weiss’s partitas show up on Brodersen’s 2010 Want List, Alard’s may well show up on mine. But whether it does or not (there are always hard choices to make), if you care about Bach on the harpsichord, you must not be without this release for another minute.
-- Jerry Dubins, FANFARE [9/2010]
Chansons 1957-1962 - Scoubidou, Personnalites, Mon beau chap
Frémeaux
Available as
CD
Apres ses debuts remarques dans le jazz, Alexandre Sacha Distel, neveu du celebre chef d'orchestre Ray Ventura, s'oriente vers la chanson. Son charme et sa voix seduisent rapidement le public. en 1958, son tube Scoubidou le propulse au sommet des charts. de 1959 a 1962, Distel enchaine les succes. Il remporte le Grand Prix de l'Academie Charles-Cros en 1959, chante avec Maurice Chevalier, compose pour le grand ecran et devient une ic�ne de la chanson francaise, alliant talent musical et elegance naturelle. Patrick FReMEAUX After a stunning debut as a jazz guitarist, Alexandre "Sacha" Distel, the nephew of famous French bandleader Ray Ventura, turned to the world of songs, where his voice and good looks quickly attracted a large audience. In 1958 he had an enormous hit with the song "Scoubidou" that catapulted him to the top of the charts. In 1959 he won the "Grand Prix de l'Academie Charles-Cros", and for the next three years he enjoyed one hit after another. He would sing with Maurice Chevalier and compose songs for films before becoming an icon in popular music with a unique combination of musical talent and natural elegance. Patrick FReMEAUX CD1 (1957-1959) : Sacha Distel CHANTE : TOUT BAS (SPEAK LOW) - CHEVEUX DANS LE VENT - QUAND J'Y PENSE - LA FIN D'UN ROMAN D'AMOUR - MA CHeRIE SI JOLIE (TAMMY) - MALADIE D'AMOUR - INSENSIBLEMENT - FASCINATION - ROSE D'OR - LE TOUR DU MONDE (AROUND THE WORLD) - QUAND TU VIENS CHEZ MOI... MON COEUR - QUELQUE CHOSE EN TOI - L'eTANG - TIENS ! TIENS ! TIENS ! - UN AMOUR COMME LE N�TRE - QUE RESTE-T-IL DE NOS AMOURS ? - PARLEZ-MOI D'AMOUR - SI PETITE O MON AMOUR - GARDE cA POUR TOI (CATCH A FALLING STAR) - LE MUR - La, PReS DE LA FENeTRE (IN THE WEE SMALL HOURS) - DORS MON AMOUR - BRIGITTE - a JAMAIS - BONJOUR CHeRIE. BANDE ORIGINALE DU FILM GIGI : C'EST LA BARBE (AVEC MAURICE CHEVALIER) - TOUT cA N'EST PAS POUR MOI - CEUX QUI INVENTeRENT LE CHAMPAGNE (AVEC MARIE FRANCE GIGI ET JANE MARKEN) - GIGI. CD2 (1959-1961) : Sacha Distel EN PERSONNE : SCOUBIDOU - POMMES ET POIRES - OH ! QUELLE NUIT (LONESOME ME) - QUAND ON S'EST CONNU - CE SERAIT DOMMAGE... (IMPATIENT LOVER) - OUI, OUI, OUI, OUI (GRAND PRIX DE LA CHANSON R.T.F. 1959) - DIS ! O DIS ! (EVERYBODY LOVES A LOVER) - ET QUE cA DURE - JE N'AVAIS PAS COMPRIS. COQ D'OR DE LA CHANSON 1959 : SOPHIE. Sacha Distel N�2 : MON BEAU CHAPEAU - La, PReS DE LA FENeTRE (IN THE WEE SMALL HOURS) - LES CeLIBATAIRES - OUAH ! OUAH ! OUAH ! OUAH ! - PERSONNALITeS - ELLE A LE... ELLE A LA... ELLE A LES... - DITES a L'ORCHESTRE (LA... LA... LA...) - MONSIEUR L'BARON - TOUT cA DEVAIT ARRIVER (EVERYTHING HAPPENS TO ME) - DR�LE DE ReVE (THE PREACHER) - ALLEZ ! VA ! (MY HEART IS AN OPEN BOOK). Sacha Distel N�3 : 20 MADAM' MADAM' - CALIN CALINETTE - LES CARIOCAS, ELLES SONT SI BELLES LES CARIOCAS - OUI, DEVANT DIEU (LA NOVIA) - LE BOOGIE DU BeBe (BABY SITTIN' BOOGIE) - ON DIT, ON DIT, ON DIT - cA C'EST DU POULET - a CAUSE DE TOI (I DON't KNOW WHY) - BYE BYE BABY (BYE BYE BLACKBIRD) - TROIS FOIS LA FRANCE. CD3 (1961-1962) : OUI ET NON - C'EST TOUT, C'EST TOUT (THAT'S ALL) - CATERINA - C'eTAIT PLUS FORT QUE TOUT (I CAN't STOP LOVING YOU) - J'AI UN RENDEZ-VOUS (I WANNA THANK YOU) - SANS TOI - QUE C'EST BON (WELCOME HOME TO MY HEART) - CHANSON SUR UNE SEULE NOTE (SAMBA DE UMA NOTA SO) - GUITARE ET COPAINS (A STEEL GUITAR AND A GLASS OF WINE) - DIS-MOI BARMAN - LES FILLES... MOI J'AIME cA - BON VENT MA JOLIE - PAILLASSE - RIEN DANS LA NUIT. SACHA BOSSA NOVA : ESO BESO - DESAFINADO - VIENS DANSER LA BOSSA NOVA (TING TOUNG) - LOIN DE TOI (RECADO). EVERYBODY LOVES THE LOVER : LET ME LOVE YOU - WHY DON't WE DO THIS MORE OFTEN - MY HEART STOOD STILL - ONCE IN EVERY LIFETIME - I'm IN THE MOOD FOR LOVE - SPEAK TO ME OF LOVE - THE LOVER - IT'S BEEN A LONG, LONG TIME - EVERYBODY LOVES A LOVER - YOU DO SOMETHING TO ME - I CAN't GIVE YOU ANYTHING BUT LOVE - ALMOST LIKE BEING IN LOVE. DIRECTION ARTISTIQUE : OLIVIER JULIEN
