2023-09-08 14:00:59
Edgar Moreau
Weinberg & Dutilleux Cover of the album “Weinberg & Dutilleux”, by Edgar Moreau. ERATO/WARNER CLASSICS
It’s difficult to find works more dissimilar than the two concertos brought together on this disc. Only the fact of having been created by the Russian conductor Mstislav Rostropovich (1927-2007) justifies such a coupling. And this cannot be understood, because the personality of the legendary “Slava” was so rich that it could inspire with equal happiness composers with radically opposed expressions. In his concerto, Mieczyslaw Weinberg (1919-1996) delivers an erratic score where changes of orientation are legion. The second movement hesitates, for example, between the rhythm of the habanera and that of the tango, before abandoning itself to the intoxication of Slavic folklore. Edgar Moreau plays the chameleons wonderfully, well accompanied by the Latvian chef Andris Poga, who enjoys cinematographic projection. The concerto by Henri Dutilleux (1916-2013), A whole distant world… (1967-1970), requires much more finesse in lyricism and dramaturgy. A world that seems foreign to the seismic WDR Radio Symphony Orchestra of Cologne (Germany). Edgar Moreau, 28 years old at the time of recording, signs, on the other hand, the most beautiful soloist version that we have heard since that of Jean-Guihen Queyras in 2004, from a line (exquisite vibrato, hyper-refined colors ) which ideally combines intimacy and grandeur. Pierre Gervasoni
1 CD Erato/Warner Classics.
Baptiste Trotignon
Brexit Music Cover of the album “Brexit Music”, by Baptiste Trotignon. NAÏVE/BELIEVE
The Beatles, the Rolling Stones, The Police, Pink Floyd, David Bowie, Led Zeppelin and others are put to jazz in this successful fort Brexit Music, by pianist Baptiste Trotignon. In trio with double bassist Matt Penman and drummer Greg Hutchinson, for acoustic covers of pop and rock compositions, attentive to the recall of the original melodies, in a treatment that reinvents the atmosphere. Here is Drive My Car (1965), the Beatles, at a slower tempo, moving towards the blues; Message in a Bottle (1979), by The Police, which loses its metronomic aspect and its reggae-style bridge, to be in the stretch of a ballad; the exact bass line of Money (1973), by Pink Floyd, serves as a basis for fine piano interventions, whileInterstellar Overdrive (1967) recalls the improvisation part of the group in its beginnings. And, if the assembly of Misty Mountain Hop (1971)Four Sticks (1971) et Whole Lotta Love (1969), by Led Zeppelin, retains its rock thrust, the painful heaviness of We Are the Champions (1977), by Queen, becomes a charming waltz. There are many musical ideas here, a strong sense of arrangement, and, in each of these rereadings, a tasty playful approach. Sylvain Siclier
You have 49.08% of this article left to read. The rest is reserved for subscribers.
#Edgar #Moreau #BaptisteTrotignon #Sparklehorse #Fredy #Massamba