None of these reconstructions are included in Teldec’s Bach 2000, although the better-known ‘originals’ obviously are. The real newcomer is the Sinfonia, BWV1045 (5'34'') ‘to an unknown cantata’ which – as befits a BWV number that immediately precedes the First Brandenburg Concerto – is rumbustious, festive and thematically likeable. Time and again I could sense allusions to other Bach instrumental pieces, though the soloist’s ceaseless arpeggiating is sometimes a distraction. We’re told it’s authentic (the manuscript source suggests a violin concerto in the making) but something about its harmonic language doesn’t quite ring true, though that reaction might well be due to lack of familiarity.
A 19th-century ‘trio sonata’. Isabelle Faust and Alexander Melnikov have already given us an acclaimed version Brahms’s First Violin Sonata, in 2007. They now complete the cycle with the other two sonatas of 1886 and 1888, and add a fascinating rarity dating from 35 years earlier: the ‘F-A-E’ Sonata, a collaborative effort by three composers in honour of the great violinist Joachim, who had to guess who had written which movement! He did so with ease, for the Scherzo is as eminently Brahmsian as the Intermezzo and Finale are Schumannesque. Alexander Melnikov will be contributing his take on a score his mother gave him that belonged to Sviatoslav Richter in September BBC Music Magazine.
Here is a private look at a star of the Paris Opera in a special pointe class taught by the ballet master, Andrey Klemm. Filmed in the dance studios of the Paris Opera, this complete ballet class gives the viewer an insight into the magnificent environment of this world famous opera house. The control and ability of avec une Etoile, Isabelle Ciaravola, is an inspiration to watch and Mr. Klemm actually gives her corrections to incorporate into the steps they are working on. It is a great experience to watch a true professional working on her technique.
S'inspirant de l'approche communicative, la Méthode de chinois premier niveau propose un accès à la langue non seulement par la grammaire et le vocabulaire, mais aussi par des situations de parole : comment se présenter, comment raconter une expérience vécue, se situer dans l'espace, etc. …