Thierry Escaich

Souvenirs de l'opus 26 Live (Medley de l'Opus 26)

Prélude improvisé

Les Solistes Français

Paul Rouger

Prélude et Allegro

Jean Frédéric Neuburger

Suite Anglaise No. 2 in A Minor: I. Sarabande et les agréments de la sarabande

Suite Anglaise No. 2 in A Minor: II. Bourrée 1 et 2

Cantilène improvisé

Trio Wanderer

Arnaud Thorette

Quatuor pour piano violon alto et violoncelle in E-Flat Major, K493: I. allegro

Passacaille et Fugue in C Minor, BWV 582

Nemanja Radulovic

Laure Favre Kahn

Fantaisie sur des Airs de Carmen

Scherzo improvisé

Emmanuell Rossfelder

Concerto pour guitare et orchestre à cordes in D Major, RV 93: I. Allegro

Concerto pour guitare et orchestre à cordes in D Major, RV 93: II. Largo

Concerto pour guitare et orchestre à cordes in D Major, RV 93: III. Rondo

Postlude improvisé

Richard Galliano

《Aria》如同一场流动的诗意对话，巴扬手风琴的呼吸与管风琴的共鸣交织出深邃的音景。专辑以即兴对话为载体，古典音乐的严谨骨架被爵士乐的流动血液激活，在巴洛克式的复调线条中渗透着探戈的韵律温度。两位器乐大师用乐器模拟人声的对话感，让旋律线条在严谨与自由之间游走，如同用音符撰写一部关于时间、空间与情感的流动诗篇。

Aria

Eloïse Bella Kohn

Johann Sebastian Bach

“After several decades of debate, it is now firmly established that the Art of Fugue was composed for harpsichord. The notation on four staves could lead to confusion and wrongly suggest that the work was intended for an ensemble of four instruments. But this scheme of notation for a keyboard instrument was not uncommon in the past (e.g. it was used by the Italian Girolamo Frescobaldi in his Fiori Musicali), as it facilitates the visualization and grasp of each individual voice's progression and beauty. I am convinced that played appropriately and with artistic integrity, the piano can serve Bach's music superbly. In this recording I have played entirely without pedal so that the splendour of the contrapuntal lines is fully rendered. In some cases, for instance an appoggiatura, the piano allows for perfect imitation of a form of vocality, like a singer following the tonic accents of a language and pronouncing one syllable more quietly than another. The harpsichord can only imitate this by agogic inflections, by playing in an irregular rhythm. Some vocally inspired passages can therefore sound magnificent on the piano.“ (Eloïse Bella Kohn)

J.S. Bach: The Art of Fugue, BWV 1080

Orchestre Philharmonique Royal de Liège

Jean-Jacques Kantorow

Charles Camille Saint-Saens

The present album is the second of two recorded by the Orchestre Philharmonique Royal de Liège and Jean-Jacques Kantorow to commemorate the centenary of the death of Camille Saint-Saëns. On the first instalment the team offered us ‘deeply impressive performances in stunning sound’ (theclassicreview.com) of the composer’s first and second symphonies and the unnumbered Symphony in A major, but now the time has come for Saint-Saëns’ crowning glory in the symphonic genre: his Symphony No.?3 in C minor, generally known as the ‘Organ Symphony’. The work was composed in 1886, and Saint-Saëns had planned to dedicate it to Liszt but the latter’s death the same year caused the dedication in the published score to be modified to ‘in memory of Franz Liszt’. It is written for a larger orchestra than his previous symphonies, with the unusual addition of a piano and an organ – the two instruments that Liszt (and Saint-Saëns himself) favored. Without being a virtuoso vehicle, the organ part is central to the work – especially in the grandiose ending – and it is here performed by the renowned organist Thierry Escaich, playing the great organ of Liège’s Salle Philharmonique. On the album, the symphony is preceded by the ‘Urbs Roma’ symphony, composed in 1856 by a 21-year-old Saint-Saëns. It was written for a competition, and its title – ‘the city of Rome’ – was one of the subjects prescribed by the organizers. In the absence of an explanation by the composer, it is unclear how the music relates to the subject. Another enigma is why Saint-Saëns omitted the symphony from his catalogue of works, even though it actually won him a first prize. In consequence, ‘Urbs Roma’ remained unpublished until 1974 and is rarely heard even today.

Souvenirs de l'opus 26 Live (Medley de l'Opus 26)

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