Articles by Year: La Folia, 2010.
As important as the thrice-seven poems of Op. 21 have been to my musical development, I can no longer sit still through Pierrot lunaire.
In unceasing motion, Oesterle juggles 70 four-pitch groups into repeating patterns, generally double-stops with frequent harmonics, uneven rhythmic profiles and infrequent fast notes.
No one’s about to launch a “Mostly Fauré Festival” these days but I found it interesting that a number of recent CD releases reflect his central position in French chamber music at the turn of the last century.
Marc Minkowski, once the rising hope of French early music, is nearing 50, and has a new label, Naïve, after more than a decade with Archiv.
A pair of DVDs present some of the short-lived Vivier’s most important works in theatrical performances, a two-evening spectacle, Rêves d’un Marco Polo, assembled by de Leeuw and Audi.
Leveraging Google’s big-brother technology, I discover that I’ve only mentioned the lucky recipient of “Mad King” Ludwig II’s patronage in passing. In this line of work, avoiding Wagner is like a wine snob steering clear of Bordeaux.