Louis Marchand News
French keyboardist and composer
- organ
- opera, classical music, Baroque music
- France
- composer, organist, harpsichordist
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2024-03-28
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2022-01-18 09:39:08
[…] years away from his native land. This is reflected in his music and the programme for Carnet de voyages will include music written in Japan as well as a world premiere, Blues de Saint-Adolphe for two clarinets, a viola concerto as well as inspirations from rock, pop and jazz. Samy Moussa conducts Ensemble de la SMCQ, with Trio Fibonacci, Virginie Mongeau, soprano, Brian Bacon, viola, Louise Bessette, piano, Annabelle Renzo, harp, Josée Poirier, flute, Claire Marchand, flute, Simon Bertrand and Jean-Guy Boisvert, clarinet. Full details from SMCQ's website.
2022-01-14 10:01:58
In stunning control of his material: Gavin Higgins' Ekstasis from Piatti Quartet, Fidelio Trio, Thomas Gould, David Cohen, Sara Roberts
[…] in the landscape, haunting yet rather disturbing too as the music becomes more intense with a distinct edge to the harmonies, the feeling of the constant oppression of the endless landscape. Finally we are in a cathedral interior, the human images tiny. Here quiet high pitches generate a sense of eerie silence that gets denser and more intense before unwinding again. The Ruins of Detroit for piano trio (the Fidelio Trio) takes the images of Yves Marchand and Romain Meffre as its starting point, each movement based on an image of the ruined grandeur of abandoned interiors in Detroit - 'Ballroom, Lee Plaza Hotel' (the image on the CD cover, see above), 'Car, Michigan Theatre', 'Piano, St Albertus School'. In his notes Higgins describes them as 'poignant relics of the American dream gone wrong'. 'Ballroom, Lee Plaza Hotel' begins with slowly intertwining string lines, a slow waltz creating an eerie texture. […]
2021-07-19 06:29:34
Anglais - The Great Lucia from Nadine Sierra and Javier Camarena
[…] which is in and of itself delirious enough with phantoms, tombs, assassinated husband on the wedding night and lover who commits suicide between aria and cabaletta, almost incomprehensible. Visually, the production by the Bayerische Staatsoper is beautiful. The whole of the action takes place in a great ball room in ruins, very well lighted by Rainer Casper, who imitates some of the most captivating photographs of the celebrated book Ruins of Detroit by Yves Marchand and Romain Meffre, including the overturned piano. Dramatically, the production directed by Barbara Wysocka does not work too well. The intention of the director of converting the traditionally passive and fragile Lucia into a strong and active woman is constantly distorted by the text, the action and even by the music. Wysocka’s idea is a good one, but the piece offers too much resistance. The melting pot of references does not help […]
2021-07-14 07:11:03
Music to be heard at close quarters in a private chamber: Concerts à deux violes esgales from Sainte-Colombe and Marais
[…] Maria's 1701 publication in a version where the two players take it in turns to play the bass part, thus increasing the sense of dialogue. There are two extra pieces on the disc by two of Marais' contemporaries, which serve both as punctuation points and to showcase the talents of the basso continuo group, a work by Etienne Lemoyne who was theorbo player for the Music of the King's Chamber, and a work by Louis Marchand, organist at the Royal Chapel. There is a sense of civilised understatement to this music, and a delight in the sense of dialogue of two equals. The forms are fascinatingly free, Sainte-Colombe's duos are of great variety and certainly not of fixed form, and Marais seems to keep this. It is only with the final work on the disc, the substantial Couplets de Folies that we encounter anything like showy virtuosity. This was music […]
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