Baptiste Trotignon, dont on connaît depuis plus de onze ans les qualités artistiques, publie sous le titre For A While une sorte d’anthologie de son travail enregistré sur le label Naïve, travail qui a reçu, depuis Fluid en 2000 jusqu’à Share en 2008, des récompenses nombreuses et justifiées.
Solo II est le deuxième album solo du pianiste de jazz français Baptiste Trotignon, sorti en 2005 sur le label Naïve. Il est accompagné d'un Dvd Live aux Jacobins puis, lors de sa réédition en 2008 d'un disque Live at Salle Pleyel.
Friend and disciple of Martial Solal, Manuel Rocheman is one of the greatest French Jazz pianists, excelling both in his own compositions as those of his favourite pianist, Bill Evans, to whom he just dedicated his last album (NJ 620911). Thanks to a common friend, he met the great guitarist Toninho Horta, legendary Brazilian guitarist who influenced Pat Metheny, and they decided to make a record together. Guitar and piano, Jazz and Brazil, this lively and interactive dialogue between two great musicians from different backgrounds provides great joy and great inventiveness.
Rocheman, in his tribute, adds a quickening support to Evans' art like scaffolding buttressing an ancient sculpture that better allows for the ethereal to gain substance, to be seen and heard. Few pianists could pull off the high-wire act that was Bill Evans, and Rocheman does not even attempt to. Instead, he provides definition, darkening the lines of Evans' thought, making a clearer picture.
"This is Opus 111’s first volume of motets for solo voice and string orchestra, perhaps not the best-known part of the composer’s sacred output, but certainly one that is capable of providing a disc’s worth of attractive and buoyant music. One of them, the sweet-natured Nulla in mundo pax sincera, has become relatively familiar thanks to a treasurable recording made by the young Emma Kirkby and its resulting use in the film Shine, but its companions are scarcely less deserving of fame. Their music ranges from the energetic virtuosity of the warlike Invicti, bellate, the nightingale-impersonating Canta in prato, ride in monte or almost any of these works’ concluding Alleluias, to the touching tenderness of the central arias of O qui coeli terraeque serenitas and Longe mala, umbrae terrores…the whole makes an attractive package, and, for newcomers, a handy and seductive introduction to the bold world of Vivaldi’s vocal music."
This is Vivaldi's second opera (at least that we know of), performed for the first time in 1714, the same year that his amazing set of 12 violin concertos called "La stravaganza" appeared. Already known as a knockout composer for violin, Vivaldi clearly had no intention of disappointing those who admired him for his string writing just because he was becoming a composer of operas–and anyone listening to Orlando finto pazzo will have to notice the virtuoso string playing in addition to the outrageous demands made on the singers. Argillano's first aria, sung with amazing speed and subtlety by mezzo Manuela Custer, ends with a violin cadenza that's so remarkable that the audience at the time must have been left (as we are) breathless.
This ambitious and beautifully produced two-CD set includes nearly all of Iannis Xenakis' chamber music for strings, piano, and strings and piano combined. Chamber music constituted a small part of the composer's output, since large ensembles and large forms were vehicles more commensurate with the aesthetic of his monumental, granitic music. There are no small pieces here, though; in each of these works, ranging from solos to a quintet for piano and strings, Xenakis was able to express his uncompromising vision no less ferociously than in his orchestral works. While all of the pieces have an elemental character, many with a visceral punch, the actual sound of the music is surprisingly varied, and the individual works have distinctive and individual characters. In spite of the weightiness and rigor of the music, the tone is not necessarily heavy, and some pieces, like Evryali for piano and Dikhthas for violin and piano, have moments of what could almost be described as whimsicality.