Michel-Richard de Lalande (1657-1726)

Tenebrae

Le Poème Harmonique
Vincent Dumestre

In 1680, Francois Chaperon, maître de musique of the Sainte-Chapelle, entrusted the setting of some verses from the Lamentations of Jeremiah to Michel-Richard de Lalande and Jean-Féry Rebel, his brother-in-law. The name Tenebrae ('darkness') derives from the spectacular ritual of gradually extinguishing all the candles - fifteen, set in a great triangular chandelier a - as the service unfolded, as a reminder of the gradual abandonment of Jesus by his disciples and the darkness that covered the earth at the time of the Crucifixion. Beautifully packaged with extensive liner and full libretto, Le Poème Harmonique, Vincent Dumestre in association with the Centre de Musique Baroque, Versailles, present us with a magnificent production. Another ALPHA production masterpiece!

A journey through countries, periods and styles on the theme of dance. The themes and melodies are borrowed from Spanish, Turkish, Russian, Italian, English, Hungarian and French composers, inspired by folk music and dances. Édouard Ferlet has used this music to compose new pieces, arranged for harpsichord and piano. There are no direct quotations here, rather a thread which is woven between these well-known melodies and a new musical vocabulary. In each piece Violaine Cochard and Edouard Ferlet improvise freely, each with their individual ‘temperament’ and sensibility. They work on sonority, texture, the exploration of sound palettes, specialization, phrasing, distillation. The two artists seek to develop sonic possibilities, articulations, playing techniques and interaction between their musical personalities. A special feature is their work on pulse and tempo, with compound meters linked with the rhythms of folksongs and dances, which are often in compound time. Each piece is underpinned by an individual dramaturgy; the melodies are immediately appealing because they remind us of something while surprising us with jazz and contemporary arrangements.

Sensational violinist Nicola Benedetti returns with a riveting recording of Shostakovichs monumental Violin Concerto (No. 1). This new recording follows Benedettis chart-topping success with Bruchs Scottish Fantasy (Homecoming, 2014) and Korngolds Violin Concerto (Silver Violin, 2012).
Benedettis own encounter with Russian music-making began in her childhood, the seriousness and intensity making a powerful impact on the young violinist: I was thrust into a different world says Nicola, a little terrifying, extremely demanding but so loving, so warm.
Together with the Bournemouth Symphony Orchestra and conductor Kirill Karabits, the dark, introspective Shostakovich Violin Concerto is brought to life in a compelling performance packed full of energy, powerful torment, and breath-taking passion. The demonic scherzo notches up intensity; the passionate third movement possibly one of the finest in the canon of violin concertos has a grand magnificence; and the astonishing Burlesque rounds off this visceral recording.
A work with a tormented history itself the hostile political environment of Russian state censorship at the time of composition in the 1940s meant that Shostakovich kept the concerto unpublished until after Stalins death it was first performed in 1955 by David Oistrakh, and immediately highly regarded internationally.
Programmed alongside Shostakovichs assertive, uncompromising masterpiece, is Glazunovs bold, colorful Violin Concerto. A late-Romantic work, the Glazunov is notable for its lyricism; Benedettis generous, radiant performance is uplifting and finely crafted.