Anne Queffélec ENTREZ DANS LA DANSE...

The same qualities as on her delightful cornucopia ‘Satie & Compagnie’ (4/13) are on display again in Anne Queffélec’s programme of dances from the belle époque and inter-war periods in France. All the composers were either disciples or pupils of one another or personal friends. Stylistically, it is easy to hear the cross-references: ‘Their works engaged in dialogue, nourished and interpenetrated each other’, as the excellent booklet has it. You can hear Faure’s Le pas espagnol, for instance, either as an affectionate tribute to or tongue-in-cheek pastiche of Chabrier. It was Fauré who provided early inspiration for the Catalan Federico Mompou, the sole outsider in nationality on this album (though not in terms of musical style) and whose Canción y Danza No 4 opens proceedings.

Again, Queffélec mixes the familiar with the less well known, with enough of the latter to entice any pianophile to invest and pianist to track down the sheet music (as an example, your reviewer has now finally got round to having a serious look at Poulenc’s Suite française). Her approach to the music is one of enchanting simplicity. No show, no grandstanding; she beckons the listener to leave what they are doing, if they wish, and to come over and join her. Minimum pedal, lovely finger legato, each note of these economically scored pieces intimately projected and made to tell.

Le pas espagnol, mentioned above, is one of five (out of the 24) tracks in which Queffélec is joined by Gaspard Dehaene. Notwithstanding the exuberant nature of this and a few others (Massenet’s Valse folle first among them), the general tenor of the 82-minute programme is one of reflection and introspection, a welcome balm, and warmly recommended. (Jeremy Nicholas / Gramophone)

Anne Queffélec SATIE & COMPAGNIE

From the wit of Satie to the to the poetry of Debussy, French music of the early decades of the twentieth century was created by exceptional and imaginative minds capable of grasping delicate nuances and shining infinite variations of light on the natural world and the human soul. Renowned for her diverse repertoire and impressive discography, French pianist Anne Queffelec has a special affinity for this repertoire. On this delightful collection from Mirare, Queffelec leads us down the varied and colorful pathways of some of the most fascinating French music for piano ever written.

Arsys Bourgogne / Mihály Zeke NAISSANCE DE VÉNUS

Directed by the young conductor Mihály Zeke, Arsys Bourgogne is a vocal ensemble whose mission is to perform everything from early choral music to contemporary compositions. Founded in 1999 by Pierre Cao, who conducted the ensemble for 15 years, Arsys Bourgogne has a rich history filled with quality and excellence. The ensemble is comprised of 8 to 16 singers and takes on six centuries of a cappella vocal repertoire as well as choral works with orchestra.

Since taking on the artistic direction in 2015, Mihály Zeke has brought Arsys Bourgogne into new and original choral music experiences. He is interested in forging links between Early and New music by creating strong relationships with today’s composers, such as Alexandros Markeas and Benoît Menut.

From Claudio Monteverdi to Olivier Messiaen, through Johann Sebastian Bach Giacinto Scelsi and Philippe Hersant, Arsys Bourgogne’s programs showcase composers from different eras in order to bring a new sense of meaning to each work. The ensemble also proposes new multidisciplinary programs that have elements of dramaturgy and staging.

Arsys Bourgogne embarks on a journey through the landscape of secular French 20th century choral music with Naissance de Vénus, a recording featuring emblematic repertoire such as the Trois chansons by Claude Debussy and Maurice Ravel, Un soir de neige by Francis Poulenc, as well as the Cinq rechants by Olivier Messiaen. Lesser known jewels, such as Joseph Canteloube’s Chants paysans, Darius Mihaud’s Naissance de Vénus and the virtuosic À contre-voix by Florent Schmitt round out this fine collection of French a cappella works.