Some albums have the subtlest way about drawing listeners in. There’s no showy solos, the melodies are solid and unfussy, volume is measured out in even quantities, and no one particular track really stands out from the pack, and yet, with no defining hook or catch phrase to reel the ear in, the sound of the album’s last note immediately spurs the decision to start the album over again right from the start. Saxophonist Olivier Boge has created one of those albums.
This second album Olivier Bog diffuse soft light of life. This is an album of resurrection entered a dark period for the young composer and multi-instrumentalist. Bog talks about his two main instruments that dominates with equal success: the piano and the saxophone. You hear the song too but not the guitar that dominates beautiful way elsewhere. For The World Begins Today, the composer has surrounded himself with a team that he is faithful companions lives, brothers, participating fully in the musical intimacy for years. Tigran Hamasyan pianist, bassist Sam Minaie and drummer Jeff Ballard.
Alkan was counted in Busoni's pantheon of five romantics alongside Chopin, Schumann, Liszt and Brahms. Brahms and Schumann are the references in the euphoric Grand Duo Concertant - nothing short of a 20 or so minute Sonata in three turbulent movements. This is a work of diving romance and if Alkan had stopped in the style of the first movement then we would have been able to 'place' Alkan. Instead we get a second movement that clamours in bass heavy capering for all the world like a picture of a Black Sabbath. As if to make ‘amends’ the finale is back to the helter-skelter tumble of vivacity we find in the first movement. This euphoria carries over into the Cello Sonata which is in four classically well-tailored movements. Alkan's originality or eccentricity (take your pick) returns for the Adagio which is part sentimental and part affecting. This perhaps offers a parallel with Joseph Holbrooke's chamber works in which sublime ideas and treatment suddenly find themselves up against kitsch music hall ditties. A wild saltarello with grand manner Hungarian gestures from the piano round out the picture.
"…Each gesture, each interpretive nuance – and there are numerous reminders that Innig’s performance is personal and distinct – serves to enhance Messiaen’s faith. So one cannot escape the devout mystery and probity that Rudolf Innig brings in such full measure to the Livre du Saint Sacrement. This performance promises to invigorate the soul." (Fanfare)
Après un premier disque Schmelzer salué avec enthousiasme par la critique (Editor's Choice de Gramophone, Choc de Classica), l'ensemble Masques dirigé par Olivier Fortin revient chez Alpha dans un programme alliant des oeuvres de Muffat, Kerll ou encore Pachelbel avec celles d'un compositeur resté totalement inconnu, Romanus Weichlein (1652-1706). Moine bénédictin, préfet et compositeur attitré de l'abbaye de bénédictines de Säben, Romanus Weichlein laissa plusieurs collections de sonates et de messes mais aussi de grandes chaconnes; autant de pages magnifiques qui s'inscrivent dans la tradition de ses compatriotes Biber, Johann Heinrich Schmelzer, Pavel Josef Vejvanovsky et Georg Muffat.