In the text accompanying the previous volume of this anthology of Zelenka's music by the Pasticcio Barocco Ensemble, Zelenka borrowed Pisendel's metaphor of the almond as a guide to the music of this enigmatic composer. Upon transmitting a score to his friend Telemann, Pisendel expressed the wish that the former would ''taste many, many of the sweet fruits of this almond tree'', thus creating a parallel between Zelenka's music and the symbolism of ''shell'' and ''kernel''; ''secret'' and ''knowledge''. We know so little of Zelenka's life that there is little one can add to the first text. Zelenka did not seem to want to be remembered other than by is music. The particularity of hemeticism is to keep a secret, not to reveal it. It is probably that in using this analogy, Pisendel was hinting at alchemy. Many composers of the time practised the secrets of their art in the hermetic mode. It should be remembered that the only work printed in Zelenka's lifetime was, in fact, an enigmatic canon. It is clear that historically, for a long time, reception of Zelenka's work highlighted the idea of strangeness. How would he have responded to this? C.P.E. Bach for example, categorically refuted this label that had often been attached to him too. What is certain is that Zelenka was a demanding composer. At a time when the search for simplicity had arrived from Italy and taken hold in the Dresden community in which he lived, he made constant use of counterpoint.

This program explores the last years of the life of Carl Philipp Emanuel Bach. A composer placed in the dual position of heir, by the shadow of his father Johann Sebastian, and visionary by his own personality, he finds himself at the end of his life witnessing the emergence of classicism, when he is already anticipating romanticism. For Mathieu Dupouy, this album is a return to CPE Bach, whom he has spent much time recording. He interprets the music on a pianoforte ideal for the historical accuracy of these pieces, restoring all their power and immediacy. Mathieu Dupouy studied at the CNSM of Paris with Christophe Rousset and obtained the first harpsichord and basso continuo awards unanimously. His repertoire is not limited to Baroque music, but frequently extends to contemporary creations. He also plays in different ensembles and orchestras. His prior albums have all received praise from the specialized press.

The camber music works performed here cover the whole of Henri Dutilleux's career. They precede it even, if we take into account that the earliest of them were rejected by the composer himself as not yet being ''his'' music. Indeed, Dutilleux considered his Sonata for Piano to be his opus 1. Nonetheless, it has to be said that though he thoug it regrettable, these pieces composed while he was still relatively young have continued to be played whilst the Sonatina for flute was even to become his most recorded work. It is highly probable that Dutilleux's maturity as a composer was delayed as a result of the War, since several key 20th century composers were banned at thetime. He also had to find his own voice: I had dto disentangle myself from certain influences. In my earlier works there's also an influence of Faure - his music made a great impression on me when I was young. He'd also been a fellow student at the Ecole Niedermeyer with my grandfather, Julien Koszul. As well as Faure, one observes the influence notably of Ravel, though also of Poulenc, noticeable in th epieces fo rlfute and oboe, an influence Dutilleux had some difficulty breaking away from and that he deplored as being an easy solution, particularly in the finale of the oboe sonata.

Robert Schuman is one of a number of 19th century artists whose creativity was dogged by mental illness. The works he wrote at the end of his life have particularly suffered from being seen soley through his prism. Madnenss in no way helps us understand his late style. A common misconception is that Schumann the composer was mad however it was Schumann the man, who was mad. Soo Park goes in depth with Schumann, finding the harmonies and sanity in his works.

This collaboration between H�risson and the Mus�e de la Musique (Paris) is an opportunity to hear the precious pianoforte Gr�bner (1791), the newest addition to museum's collection, recorded here for the first time! The label also has the pleasure of opening a new collaboration with violinist David Grimal, who presents his first recording on period instruments. Mathieu Dupouy always looks for a perfect match between repertoire and instrument, and has so recorded for H�risson at the harpsichord (Scarlatti), the fortepiano (Haydn), the clavichord (C.P.E. Bach), and the organ (Couperin).

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music