The music of Italian pianist/composer Ludovico Einaudi, poised between Glass' minimalism and the shifting shades of the ambient movement, has gained more traction in Europe than in the Western hemisphere. That could change with this release by Canadian violinist Angele Dubeau and her chamber orchestra (with piano), La Pieta. Dubeau and Francois Vallieres have arranged a variety of Einaudi's pieces, most of them at his typical length of four or five minutes, for the violin-and-orchestra combination. Thoughts on it will depend largely on what some think of Einaudi's music to begin with. For those who are new to it, start with one of Einaudi's own recordings. The music of the general minimalist orbit usually stands up well to being arranged – think of the multiple versions of Arvo Part's major works, where such adaptability is almost a hallmark of the style – but Einaudi is so oriented toward the spaces inside the notes of a solo piano that you might think this version dilutes it a bit. On the other hand, Einaudi has composed music for many instruments other than the piano.
This resolutely modern album is a musical portrait of Philip Glass. Angèle Dubeau has always maintained a passionate interest in all musical forms; this curiosity led her to explore the works of Glass and to paint a dramatic portrait of the composer with these personal choices of some of his most significant works for strings. For a number of years, Angèle Dubeau has collaborated with Philip Glass in New York while working on his first violin concerto. In light of this relationship, Glass authorized, for the first time, an overview of his work with musicians other than the ones he works with regularly. With this repertoire, Angèle Dubeau proves her artistic maturity while exploring new territories, bringing this discovery - or rediscovery - of this great composer of our time to her public.
"This is one of the best Philip Glass albums in ages. Led by French Canadian violinist Angele Dubeau, the all-female string-ensemble La Pieta has woven together some of the composer's most moodily romantic and irresistible pieces, playing them with a lush, almost hypnotizing beauty. The album includes his "Mishima" and "Company" scores, as well as the piano-laced suite from "The Hours." The theme from "The Secret Agent" soundtrack is one of Glass' most haunting melodies, with a mysteriously dramatic quality that's almost Purcell-like. "Echorus" is another Baroque-channeling highlight, violins singing bittersweet over a slowly rocking rhythm. From one end of the album to the other, it feels like one long song, in the best sense." – Bradley Bambarger, The Star-Ledger (Newark)
Abandoned at the age of two months and taken in by the Ospedale della Pietà, Chiara (or Chiaretta) rose – within that enclosed charitable institution in Venice – to become one of the leading European violinists of the middle of the 18th century. No stranger to such acclaim, himself, two and a half centuries later, Fabio Biondi, on his first release for Glossa, has devised a CD drawing on the personal diary of this remarkable musician who was taught by Antonio Vivaldi, and later became a virtuoso soloist on the violin, as well as the viola d’amore. The programme consists of concertos and sinfonias by composers who, like the prete rosso, taught at the Pietà: Porta, Porpora, Martinelli, Latilla, Perotti and Bernasconi are all musicians whose compositions charm and delight as much today as they did in the time of Chiara. Along with this inspired vision-in-sound of the 18th century musical world of the Ospedale comes a half-hour long DVD dramatisation; CD and DVD admirably reflect both the virtuosic skills demanded of the instrumental soloists of the day and the revolution in musical tastes (inside the Pietà as well as outside it), as the Baroque passed to Classicism via the galant style.
Dubeau fait cette fois appel aux Violons du monde et nous propose un voyage à travers les époques et les styles : les musiques d’inspiration tzigane, klezmer ou écossaise y côtoient Chopin, Ennio Morricone et François Dompierre. Si le mélange a son charme pour les amateurs de variétés, il peut irriter le mélomane soucieux de cohérence esthétique.
Dubeau offers us a journey through the eras and styles of music inspired by gypsy, klezmer and Scotttish alongside with Chopin, Ennio Morricone and Francois Dompierre.
Featuring the internationally renowned violinist Angèle Dubeau and her ensemble La Pietà, Violons d’enfer takes us on a fascinating, mysterious and seductive journey into a musical underworld of devils and demons. Conceptually audacious and visually stunning, Violons d’enfer plays with harmony and contrast – while always remaining faithful to the music. Messire the Devil is a welcome presence; after all, certain demons – like certain sins – are too delicious to pass up…
Vendu à plus de 50 000 exemplaires, cet album d'Angèle Dubeau et La Pietà vous fera découvrir une sélection d'oeuvres classiques et populaires sur le thème du diable… L'ensemble interprète de façon magistrale l'harmonieuse combinaison d'un programme des plus virtuoses à un répertoire populaire. Un album qui saura plaire à tous.
Angèle Dubeau & La Pietà with actor Albert Millaire present Chronicle of the huge and mighty Giant Gargantua by François Rabelais, restituted by Jean Françaix, XX-Century tonal music composer. To complete the program: Frivolous to perfection, L'Heure du Berger was a commission for some modern musique de brasserie, and so Françaix decided to indulge in some caricature; and Sérénade B E A, commissioned by a wealthy Hungarian for his girlfriend Beatrice.
L’album Gargantua contient trois œuvres, la première est «Les inestimables chroniques du bon géant Gargantua» pour récitant et orchestre à cordes (1971). Puis, la deuxième pièce: «L’heure du Berger» pour orchestre à cordes et piano (1947) se présente en un vrai bijou pour ces musiciennes de l’archet, avec ses nombreux glissandos (dans «Les vieux beaux») qui donnent à cette pièce une véritable voix.La dernière pièce de l’album est «Sérénade B E A» pour orchestre à cordes (1955).
Don Was stripped Pieta Brown's sound down to its essentials for her 2009 EP and Red House label debut. But on her first full-length album for the imprint her dad Greg called home for many years, she co-produces (along with shotgun-riding guitarist legend Bo Ramsey) and beefs up the proceedings considerably. The extra instrumentation includes two drummers on all but three tracks, but the additional percussion never seems busy and never overwhelms her delicate, whispery vocals…