Ida Haendel’s sinewy and athletic reading of the often under-rated Britten combines toughness with a cumulative dramatic impetus which is hard to resist. Berglund and the Bournemouth players respond with a terse and argumentative vigour, suitably balanced between resignation and defiant rhetoric, especially in the closing Passacaglia. The Walton Concerto, also dating from 1938-9, is played with an apposite blend of inscrutable panache, as in the irrepressibly brilliant central movement, and elsewhere, a sensuous, if occasionally over-indulgent languor. Rare lapses in the finale can be safely overlooked, in a performance of eloquence and undisputed stature.
La crescita a ogni costo. L’impero delle macchine. Il cinismo delle grandi compagnie, indifferenti al flagello della disoccupazione. Anche ai tempi di William Morris (1834-1896), libertario agguerrito, poeta, architetto e cultore del bello, le cose andavano come da noi. …
Is it fair to say that most born Frenchmen have considered themselves exceedingly fortunate in their nativity? Moi? I didn't enjoy such luck. Neither did Jean-Baptiste Lully, the favorite of Louis XIV and thus the tyrant of French music for thirty-four years. Lully was born in Florence in 1632, but carried to France as a youthful Ganymede; he entered the service of the Sun King in 1653 as a dancer, and he rose to a position of monopoly influence in Louis XIV's court despite his flagrant debauchery and libertine sexuality. Just as Louis declared, that 'he was the State,' Lully could well have said "French Music, it's me!"
Guillaume Bouzignac (1690?-1743?) was not attached to the French Royal Court. His music was not published by Ballard, who held a royal monopoly on musical publication. He MAY have been a choirboy in Narbonne, a master of the choirboys in Grenoble, a musical servant of Henri Montmorency, governor of Languedoc at the time of the wars against the Huguenots, and a person of musical importance in the city of Tours, where the manuscript of these motets was discovered in 1905. That covers almost everything that's known about the composer outside of the very specific information about his musical thought contained in his works.
This superb recording of the compositions of Lully for the court of Louis XIV is almost perfect in delivery; evoking the sophistication, wit, grandeur, humor that would be required to entertain the most demanding of monarchs amidst the most sophisticated court in Europe. The character of Lully is fascinating. Lully was an Italian actor, dancer and musician who becomes the central creative force in music theatre in the court of the Sun King. However it is the flawless music that is contained in this recording that should be heard. With use of period instruments William Christie and Les Arts Florissants paint a range of compositions from various operas and periods in Lully's career in the court of the Sun King.