Canat de Chizy: Moving

Rachmaninov: Piano Sonata N°2 - Variations On A Theme Of Cho

Scriabin: Vers la Flamme, 24 Preludes, Piano Sonatas

Curious, open-minded, fascinated by other cultures, Ondrej Adámek assimilates every aesthetic whose path he crosses. His works reveal all these influences, stamping them with a very individual sound colour that, combined with a powerful rhythmic sense and solid formal solid architecture, creates highly personal music by no means exempt from dramaturgy. Adámek seeks out specific playing techniques for classical instruments and creates new and original instruments. Here the Ensemble Orchestral Contemporain under the direction of Daniel Kawka lays before us an eclectic panorama of his music, from the ritualised, even mechanised sinuosities of a lullaby to the disconcerting mechanism of the strange musical machines he invents, which he does not hesitate to place in front of the orchestra.

Through a repertoire of Consort Songs for five violas and countertenor, the Celadon Ensemble tries to underline the obvious artistic connections between the music of English Renaissance and contemporary music. This parentage, this harmonic, rhythmic and poetic logic, opens a whole field of exploration into sound identity and tradition. How have such seemingly different composers, belonging to remote eras, dealt with timbre fusion in a similar way, with the same desire to deeply affect, to create a full-bodied sound, both powerful and soothing? The two eras are not placed in opposition for this concert, as Michael Nyman’s music arises naturally from that of his predecessors; on the contrary, it is a clever mix of genres that points out to surprising similarities between these works: we could easily believe that Tye’s ‘Sit Fast’ was composed very recently. From one century to the next, we face a testimony brought to song by the timbre of a countertenor, the intensity of a violas consort that carries a certain magic, the paradoxical expression of a voice which is solitary but also becomes a sixth instrument- one of the violas.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Michael Jarrell claims for himself the status of a craftsman. Well aware that mastery of his art is acquired in the long term, he has often felt the need to return to the same object, considered from a different angle, when he judges that he now possesses more ef cient tools and can express his musical ideas with greater precision. Although he says he is fascinated by artists who constantly work at the same idea, he does not seek a reduction of this kind for himself, but rather moves from one work to another through a process of reactions. That attitude is illustrated by this new album in which works and performers intersect; and the artists here are the composer’s most loyal supporters. The arborescences and ruptures, the profundity of the multiple levels of interpretation we can perceive in the pieces on the programme of this release, make us conscious of the multiplicity of the levels of meaning present in his music. Michael Jarrell’s training as a visual artist has probably honed his sensitivity to forms still further. The impact on him of Paul Klee’s ideas, notably concerning the relationships between forms and movements, is doubtless not foreign to the way he animates the materials with which he composes.