Violaine Cochard & Edouard Ferlet / Plucked'N Dance
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2018
Жанр: Classical Crossover
Издатель (лейбл): Alpha
Продолжительность: 00:48:26
Наличие сканов в содержимом раздачи: Буклет PDF
Треклист:
1. Bartok'n Roll (05:57)
2. Les cinq sauvages (04:01)
3. Entre ciel (04:07)
4. Envoûtés (05:28)
5. Danse de profil (03:06)
6. Le bal éthylic (04:10)
7. Ombre d'or (03:31)
8. Valse blanche (03:39)
9. Qui-vive (04:11)
10. Révérence (04:33)
11. Oppidum (05:39)
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/96
Формат: PCM
Количество каналов: 2.0
Лог проверки качества
foobar2000 1.3.7 / Dynamic Range Meter 1.1.1
log date: 2018-10-14 14:11:09
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Analyzed: Edouard Ferlet / Plucked'N Dance
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DR Peak RMS Duration Track
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DR10 -0.30 dB -12.21 dB 5:58 01-Bartok' N Roll
DR11 -0.30 dB -14.52 dB 4:01 02-Les cinq sauvages
DR10 -0.30 dB -14.14 dB 4:08 03-Entre ciel
DR12 -0.30 dB -15.20 dB 5:28 04-Envoûtés
DR11 -0.53 dB -15.89 dB 3:07 05-Danse de profil
DR12 -0.30 dB -15.27 dB 4:11 06-Le bal éthylic
DR10 -0.30 dB -12.70 dB 3:31 07-Ombre d'or
DR12 -0.30 dB -15.13 dB 3:40 08-Valse blanche
DR10 -0.30 dB -12.82 dB 4:11 09-Qui-vive
DR10 -0.30 dB -13.52 dB 4:33 10-Révérence
DR9 -0.30 dB -12.77 dB 5:39 11-Oppidum
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Number of tracks: 11
Official DR value: DR11
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 3033 kbps
Codec: FLAC
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Скриншот спектра частот
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Источник (релизер): tuoro @ redacted
Композитор: Inspired by
Béla Bartók
Erik Satie
Henry Purcell
Jean-Philippe Rameau
Manuel Blasco de Nebra
Modest Mussorgsky
Состав
Violaine Cochard: harpsichord
Édouard Ferlet: piano
Об исполнителе (группе)
First-prize winner in the International Harpsichord Competition in Montreal in June 1999, Violaine Cochard worked with the finest teachers to develop a personal and inventive style. In 1991 she was awarded a first prize at the Conservatoire (CNR) in Angers, where she studied with Françoise Marmin, and entered the classes of Christophe Rousset and Kenneth Gilbert at the Paris Conservatoire (CNSM). Three years later she graduated with three first prizes – for continuo and harpsichord – awarded unanimously by the jury. She continued her training with Pierre Hantaï and Christophe Rousset (advanced course at the CNSM in Paris).
An inspired continuo player, a fine soloist, a teacher for three years (1999-2002) at the Conservatoire (CNR) in Montpellier, Violaine Cochard devotes much of her time to chamber music, working regularly with various ensembles, including the Ricercar Consort (Philippe Pierlot), Il Seminario Musicale (Gérard Lesne), Les Paladins (Jérôme Corréas) and, of course, Amarillis, playing continuo or solo. She also plays continuo for operatic productions by Les Talens Lyriques (Christophe Rousset) and Le Concert d'Astrée (Emmanuelle Haïm). Violaine Cochard gives recitals and chamber concerts at festivals in France, elsewhere in Europe, and in Latin America (Cité de la Musique in Paris, La Chaise-Dieu, Nantes, Ambronay, Beaune, Montreux, Utrecht, Pisa…). She is also heard on France Musique and has been invited to take part in broadcasts for the BBC.
She records with Amarillis for the Ambroisie label. Other recordings include Les quatre saisons by Boismortier with Les Festes Vénitiennes (K617), the Symphonies of Pugnani with Academia Montis Regalis (Opus 111), Persée by Lully with Les Talens Lyriques (Naïve), Apollo e Dafne by Handel with Les Paladins (Arion), and Dido and Aeneas by Purcell with Le Concert d'Astrée (Naïve)…
Violaine Cochard recorded two solo CDs of François Couperin' music in 2005 and in 2008 for the label Ambroisie. Her next solo recording, on Johann Sebastian Bach' music is available since novembre 2011 for the label Agogique. http://www.bach-cantatas.com/Bio/Cochard-Violaine.htm
The French harpsichordist (and organist), Violaine Cochard, began studying the harpsichord in Angers under Franfoise Marmin, and then continued her studies at the CNSM in Paris, where she won two first prizes on a unanimous vote, one for basso continuo in Christophe Rousset's class, and the other for harpsichord under Kenneth Gilbert. She continued her studies under Pierre Hantaï, and Christophe Rousset during her advanced training. She has won in June 1999 First Prize at the International Harpsichord Competition in Montreal.
Violaine Cochard has appeared as a soloist or a continuist conducted by Ton Koopman, Reinhard Goebel and Christophe Coin, and at the Ambronay, La Chaise-Dieu and Pontoise festivals. She has provided the continuo in several Simphonie du Marais and Les Talens Lyriques productions, and in various chamber music formations. She has also made recordings for France Musique and the BBC and has given chamber music recitals and concerts in France and elsewhere in Europe. https://en.wikipedia.org/wiki/%C3%89douard_Ferlet
Édouard Ferlet is a pianist of the French jazz scene.
Ferlet began playing piano at the age of 7 and studied classical music at l’École Normale de Musique de Paris, and later on at the Conservatoire regional. In the late eighties, he moved to Boston, US, and studied piano under renowned teachers: Herb Pomeroy, Hal Crook, Ed Tomassi, Ray Santisi, Ed Bedner. In 1992, he graduated from the Berklee College of Music in Jazz Composition and was awarded the Berklee jazz performance award.
Since September 1999, Violaine Cochard teaches harpsichord at the CNR in Montpellier.
Back in France, he worked as a composer for a variety of TV programs and gained a sound experience in the field thanks to the diversity of the commissions he had to face. He rapidly recorded two albums under his name: Escale and Zazimut featuring key artists of the new European jazz generation: Médéric Collignon, Christophe Monniot, Simon Spang-Hanssen, Claus Stotter, François Verly, Gary Brunton.
In 2000, he met the bassist Jean-Philippe Viret with whom he recorded three albums in 6 years (Considérations, Étant Donnés and L’Indicible), as well as a DVD and a CD distributed exclusively in Japan. In a few years, this trio, under the label Sketch, was nominated for the Django d'or, les Victoires de la Musique (French Grammy Awards) and obtained great critiques in the media.
Back in France, he worked as a composer for a variety of TV programs and gained a sound experience in the field thanks to the diversity of the commissions he had to face. He rapidly recorded two albums under his name: Escale and Zazimut featuring key artists of the new European jazz generation: Médéric Collignon, Christophe Monniot, Simon Spang-Hanssen, Claus Stotter, François Verly, Gary Brunton.
In 2000, he met the bassist Jean-Philippe Viret with whom he recorded three albums in 6 years (Considérations, Étant Donnés and L’Indicible), as well as a DVD and a CD distributed exclusively in Japan. In a few years, this trio, under the label Sketch, was nominated for the Django d'or, les Victoires de la Musique (French Grammy Awards) and obtained great critiques in the media. At the same time, he continued to play with singers from various backgrounds: Mark Murphy in Jazz, Manda Djin in Gospel, Geoffrey Oryema in World Music and Lambert Wilson in cabaret. He successfully conducted the musical direction for Julia Migenes' show Alter Ego. This allowed him to tour all over the world: China, Canada, Germany, Spain, France. He received praise for his sensitivity and his artistic commitment during musical interludes.
In 2006 Édouard Ferlet and Benjamin Gratton founded Melisse, a French contemporary jazz label. The label supports Ferlet's and other innovative jazzmen's works who share the same musical vision, and has produced albums by Issam Krimi, the Jean-Philippe Viret Trio, François Raulin /Stéphan Oliva, as well as Édouard Ferlet himself.
Об альбоме (сборнике) https://outhere-music.com/en/albums/plucked-n-dance-alpha-411
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, but 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, spatialisation, 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 metres 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.
This is your second disc together, after Bach Plucked Unplucked. In 2015, it was a completely new experience: how do you see things today?
ÉDOUARD FERLET: Looking back, I think it wasn’t just the CD but the experience of giving concerts that allowed us to mature together as a duo in an incredible way. Plucked’n Dance isn’t a sequel to Plucked Unplucked – we wanted to move on from Bach – but nevertheless we can’t totally separate the two discs: these last years of giving concerts with that first programme have led us to where we are today. With this second project we can certainly sense a turning point for our duo: there’s still a strong commitment to newly composed work, but also a heightened sense of freedom in our improvisations. Our feeling of affinity is more natural too, and the theme of the dance, its playfulness and liveliness, allows us to give ourselves more readily. For all these reasons, this programme is livelier and at the same time more delicate; more assured, yet leaving room for the unexpected. Violaine has developed her improvisation skills; for my part, I’ve refined my touch, my listening awareness and sensitivity, thanks to this shared experience.
And our adventure is still ongoing. We’ve often taken advantage of the places where we’ve been staying ahead of the recording, for research sessions together, or to be alone to write. We always maintain boundaries when we start working on pieces that already exist; we ask ourselves, how far can we go in changing them? The task of composing has needed two years of work to mature and ripen.
VIOLAINE COCHARD: I think what marks this second recording is the quality of our ensemble playing. In the course of our concerts our sense of rapport became second nature, a matter of course. That’s the nature of chamber music: sympathies develop into a tremendous sense of affinity. There is a real feeling of interaction about our playing, something that can’t be controlled by sheer willpower, and it can work magic – particularly in the improvised sections. Édouard has been really kind in encouraging me in my improvising to search for material deep inside myself, to bring out parts of myself unknown even to me. And with the experience of the concert recitals, and the sense of confidence that mounts little by little, right now I feel freer to dare to go beyond myself, and to take things even further with my harpsichord.
This programme is a journey across time, through the dance. Was it your wish to leave the baroque world behind?
V. C. What I particularly like about this second disc is that it tackles a different repertoire from the baroque, so people can hear a more contemporary harpsichord sound. I’m drawn towards many different musical worlds unfamiliar to me as a harpsichordist, such as Mussorgsky, Bartók, or Satie – but in Édouard’s compositions they’re all there, interrelated with each other. There’s a perfect sense of consistency, as Édouard thoroughly understands the harpsichord: he’s got to know it thoroughly, and in his composing he really has taken account of its specific characteristics. This topic of the dance has also forced me to dive into the complexity of the rhythms of jazz and traditional music. For example, having the Danse des sauvages by Rameau in 5-time: definitely weird, but what a brilliant idea! You can sense the ghost of Rameau, even though it isn’t quite him…
E. F. In fact we pass through time, from the 13th to the 21st century, but without ever saying which time we’re in precisely. Following a chronological time-line wouldn’t interest us, nor would imitative period pastiche. In a composition, I can tell a story: I’m inspired by the human aspect of the composer I’m imagining, or by a feeling the music gives me, or else I simply think up a story in connection with the piece, and develop it. Bit by bit, I detach myself from it and slip into my own world. Often the original musical reference is barely perceptible, or just there in outline. I improvise around the idea, and complete the work of composition in pencil. I withdraw into a dramatic scenario, a feeling: even more, into my own body – which is where this dance connection has led me. I go on the assumption that I must trust whatever my sense of improvisation suggests, and wherever my hands on the keyboard are leading me. I avoid analysing so I can get to free myself from all support, absorb colours and movements in my body, and allow something from the unconscious to take physical shape. We all have an invisible potential that we don’t use enough, or that we try to rationalize. I put my trust in it.
How did you choose the repertoire?
E. F. For the Bach CD, there were pieces that we had in common in our repertoires. For this second programme, we wanted a genuine diversity of composers and styles, also different countries – but not a musical melting pot. This new disc really does access something that gets close to who we are. Together we’ve played through a lot of pieces suggested by one or other of us, and we’ve made our selection according to what we felt organically when playing them. This aspect is very important: we have to feel well about the pieces we pick, and when put together they have to have a sense of rightness as a whole.
This time around Violaine and I are enjoying it in a more relaxed way, which makes itself felt in the fluidity of our playing. I really believe we’re on the way to creating something genuinely new, a type of duo that doesn’t exist anywhere else.
V. C. We both felt at a very early stage that we didn’t want to be confined to baroque music. We wanted to approach very different periods and styles, to present a journey through time. Each piece has its own world: different colours, a different atmosphere, and at the same time the journey makes sense thanks to Édouard’s writing, which is extremely rich and varied melodically, harmonically and rhythmically.
Is there a composer with whom you felt more at ease?
E. F. Perhaps Bartók: a composer I’ve played a lot, and one I particularly like. He did a lot of work in folk music, popular repertory, to which he gave a very contemporary twist. He created his own vocabulary based on these tunes. That’s why he’s one of my great role models.
V. C. For me it’s not a composer but a piece: the Danse de profil is one of my absolute favourites. At the start you don’t recognize it as a dance by Satie, but you notice something extremely melodic about it. It’s a piece full of poetry, and it really magnifies the texture of the two instruments playing together: a study in timbres, in sound material.
Has this programme led you to go beyond your own aesthetic ideals – of jazz and baroque respectively?
V. C. I’ve certainly found myself heading in a more modern direction, even if that hasn’t particularly influenced my performing style when I play baroque music. I keep the repertoires separate, maintaining an equal respect for each musical area. I work just as keenly on baroque music as on one of Édouard’s compositions; I have the same degree of commitment, the same way of approaching each piece. To me their demands are equally important, they need the same attention, they give the same amount of pleasure. We’ve certainly benefited from the places where we’ve stayed, and from the concerts we’re given together. It’s all helped us to get down to work on this second CD more quickly: it’s been more spontaneous, more natural, but with the same highly focused listening and attentiveness to each other. Even though this repertoire is perhaps newer to me, the incredible interaction we now have between us has made things much easier.
E. F. Our first CD has fed into the second, and vice versa. Because Violaine plays chamber music and conducts musicians and singers, while I pursue my adventures in jazz and in composing, and because we’ve played a lot of duo recitals, we’re now in perfect affinity. We both give a great deal of importance to the quality of listening, on which our ensemble sound is built. We have such confidence within ourselves – each in the other – that it gives us a sense of freedom: on stage, whatever happens, we’re not afraid of anything! Even when we find ourselves musically in hitherto unknown places, we’re always able to catch up with each other again. It’s got to the stage where we can sense – even virtually predict – what the other is just about to do. It’s a form of synergy, of collective energy. That can be heard in the sound: to play together is one thing, but to have absolutely the same sound is quite another. By now we share one and the same rhythmical breathing: sometimes we become a single instrument.
Interview 13 April 2018 by Claire Boisteau
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发表于 2020-12-8 15:03:06
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