2015.04.18 > 2015.05.02
Adrien La Marca at Deauville's 19th Easter Festival
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Wolfgang Amadeus Mozart
Concerto pour piano n°14 K.449

Ludwig van Beethoven
Quintette pour deux violons, altos et deux violoncelles à Kreutzer opus 47

Gabriel Fauré
Quatuor n°1 pour violon, alto, violoncelle et piano opus 15

> For the complete program of the festival click here
2015.04.28
Alexandre Melnikov | Ensemble Variances
World Premiere Poème du Feu
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Ivan Wyschnegradsky
Méditation sur deux thèmes de la Journée de l'existence pour violoncelle et piano, op. 7 (1918-1919)

Gérard Grisey
Nout pour clarinette-contrebasse

Alexandre Scriabine
Cinq Préludes, op. 74

Alexandre Scriabine
Vers la Flamme, op. 72 (1914)

Thierry Pécou
Soleil-Feu pour violon et piano

Bruce Mather
Duo basso pour flûte-basse et clarinette basse (1996)

Marc Patch
SILVER (si l'verre) pour flûte, clarinette, violon, violoncelle et piano

Alexandre Scriabine
Sonate nº 9 « Messe noire », op. 68

> Click here for more information
Upcoming events
Quatuor Tana
Jacques Lenot
Intrada
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le ciel retrouvé 
Intégral des quatuors à cordes 

Anaclase! 
****Diapason

> Rinaldo Alessandrini's page on Naïve's website
Brentano Quartet
Beethoven
The Late String Quartets Op.130 & Grosse Fuge Op.133
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Alexandre Tharaud
Mozart & Haydn
Jeunehomme
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Joyce DiDonato | Bernard Labadie
Les Violons du Roy



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Andreas Staier
Robert Schumann
Variationen & Fantasiestücke
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This third volume of Andreas Staier's series devoted to the piano music of Robert Schumann begins with his first published composition, the "Abegg" Variations op.1, and ends with his very last work, posthumously published "Geistervariationen". The road he travelled between the two words was a long one, yet this programme also brings out the consistency of the poetic urge that gives Schumann's music its matchless powers of evocation.

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Alexander Melnikov
Beethoven
Complete Works for violoncello & piano
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Beethoven's works for cello and piano were written between 1796 and 1815. He effectively created the sonata for cello, with an independent piano part, in his Op.5, intended for Jean-Louis Duport and dedicated to Frederick William II of Prussia. Like the delightful variations on themes by Handel and Mozart, they represent his first-period style, as Op.69 typifies the second. The two sublime Sonatas Op.102, for their part, already herald the unprecedented stylistic freedom of the composer's final decade.

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Javier Perianes
Felix Mendelssohn
Lieder ohne Worte
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This programme illustrates four essential qualities of the music of Felix Mendelssohn. Music stripped of all superfluity, including the literary aspect (Songs without Words); a gift for creating magical atmospheres (Rondo capriccioso); unconditional admiration for classical order; and, finally, a genuine veneration for Bach (Prelude and Fugue op.35). The whole radiant universe of Mendelssohn is encapsulated here.

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Alexandre Tharaud
Moderne
Satie, Ravel, Debussy, Poulenc & Others
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DEBUSSY
Sonata n°1 for cello & piano
MAURICE RAVEL
The complete work for piano (2 CD)
ERIK SATIE
Avant-dernières pensées / Solos & duos (2 CD)
FRANCIS POULENC
Sonatas & suites for cello / clarinet & piano
& WORKS by Zoltán Kodály, Alban Berg, Anton
Webern, Frederic Mompou, Henri Dutilleux,
Pierre Boulez, Olivier Messiaen et Thierry Pécou

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Alexander Melnikov
Paul Hindemith
Sonatas for...
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Hindemith composed more than 30 sonatas for the most diverse instruments – all of which he was capable of playing himself! This fascinating selection of works written between 1935 (when he became persona non grata in Nazi Germany) and 1948 (the brilliant Cello Sonata for Piatigorsky) is played by some of today's finest soloists, with the guiding spirit of Alexander Melnikov at the piano. How often does one hear a sonata for Althorn? Especially one published along with a poem by the composer?

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Signum Quartet
SOUNDESCAPES
Debussy · Adès · Ravel
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It is a plea for the direct experience of a music that had become fed up with the constraints of traditional forms. Debussy’s music especially reveals characteristics that justifiably move it into the proximity of Impressionist painting, as it produces moving paintings, landscapes of sound, soundscapes in the narrowest sense of the word that can draw the listener into the middle of the picture. Maurice Ravel’s String Quartet, completed in 1903, had to be and was compared with Debussy’s quartet. At the same time, it can be seen here how Ravel’s musical diction – based on Debussy’s – prepared the way for French Modernism. Like only few of his colleagues, the Briton Thomas Adès, born in 1971, is capable of fusing traditional elements from music history, including obvious references to existing compositions, with modern sound production into an individual style appealing directly to the listener.

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New releases

Los Musicos de su Alteza

Los Músicos de Su Alteza have just completed a tour in Holland with Oude Muziek to great acclaims, with performances in Utrecht, Rotterdam, Amsterdam, Leeuwarden and Eindhoven.

los-musicos-de-su-alteza