Frédéric Anton, chef étoilé du restaurant Le Pré Catelan et juré vedette de l'émission MasterChef sur TF1, livre ici plus de 100 recettes de petits gâteaux : sablés, tuiles, macarons, muffins, cupcakes, cookies, meringues… prennent forme sous ses doigts et ceux de sa chef pâtissière, Christelle Brua. Les recettes, toutes simples, sont accompagnées de photos qui font de chacun de ces délices de véritables petits bijoux… sucrés !
Nicola Porpora, a contemporary of Bach, Handel, Vivaldi, and Haydn (and a very young Mozart) is best remembered today as a famous singing teacher and opera composer. During his long career (he lived to age 81) he suffered many employment-related difficulties and disappointments that caused him to move frequently. Naples (where he was born), Venice, Dresden, and Vienna (where he taught Haydn) all enjoyed Porpora's reputable presence, and he even spent a period in London at the behest of a group seeking to unseat Handel and his opera company from its preeminent position. In addition to his operas and vocal music, Porpora wrote instrumental works such as the six violin sonatas featured here, which are drawn from a set of 12. Although anyone familiar with Italian Baroque and early Classical-style solo violin music will discover nothing particularly original on this generally fine recording, if you enjoy that genre and period you'll find much here to indulge and satisfy your taste.
Three 20th-century orchestral scores, Bartók’s Two Pictures, Debussy’s Jeux and Stravinsky’s The Rite of Spring, all dating from 1910-13 and all linked (as the detailed CD booklet explains), are brought to life in the hands of two exceptional French pianists. The central interest is the ballet Jeux. One of the world’s outstanding Debussy interpreters, Jean-Efflam Bavouzet has added to his complete Chandos recordings with his own transcription for two pianos. Written late in Debussy’s life for Nijinsky, Jeux involves an emotionally erotic and harmonically daring game of tennis. Bavouzet and his well-matched partner, François-Fréderic Guy, play with nimble grace, capturing the works wit and mystery. This gripping album is dedicated to Pierre Boulez, guru and enabler, for his 90th birthday.
It was an eminently sensible decision to couple Zimerman's previously separate Chopin concertos on a single CD. The Ax/Ormandy/RCA disc is the only rival as a coupling, so let me say at once that in different moods I would be equally happy with either. The main difference, I think, is the actual sound. From DG we get a closer, riper sonority, with Zimerman's piano much more forwardly placed. Both orchestra and piano are more distanced on the RCA recording, especially Ax's piano. This, together with Ax's lighter, more translucent semiquaver figuration (and sometimes his greater willingness to stand back and merely accompany—as in certain episodes in the F minor Concerto's finale) often conjures up visions of Chopin himself at the keyboard, and we know he was often criticized for insufficiently strong projection.
Pianist and composer Anton Batagov is one of the most influential Russian musicians of our time. As a performer Batagov introduced the music of John Cage, Morton Feldman, Steve Reich, and Philip Glass to Russian audiences. On this his debut recording with Glass s record label Orange Mountain Music, Batagov offers a recital of Glass s music which is personally important to him, music which has never been heard on solo piano. Three of the four tracks offered on Batagov s program are from Glass s epic opera Einstein on the Beach - Trial, Night Train, and Knee Play 5. These pieces capture the sound of a particularly expansive moment in Glass s career as he transitioned from hard core Minimalism to a more expressive medium. That artistic pivot is captures in Batagov s mystical reading of Prophecies from Koyaanisqatsi. In 2009, after a hiatus of 12 years from live performance Batagov returned to the stage presenting a series of unique solo programs including this program which was recorded in Moscow in November 2015.
The G major Anton Rubinstein violin concerto is a fine and powerful work, quite as good as many a lesser-known Russian example in the same genre, and easily as deserving of wider currency as, say, the Taneyev Suite de Concert, which is just as rarely heard these days. Nishizaki gives a committed and polished reading, though you often feel that this is music written by a pianist who had marginally less facility when writing for the violin. Still, here’s a well-schooled performance, full of agreeable touches of imagination (the Andante shows Nishizaki’s fine-spun tone to particularly good effect) delivered with crisply economical urgency that makes good musical sense even of the work’s plainer and less idiomatic passages.