Bach Unlimited
View record and artist detailsRecord and Artist Details
Composer or Director: Francis Poulenc, Albert (Charles Paul Marie) Roussel, Thomas Enhco, Franz Liszt, Johann Sebastian Bach
Genre:
Instrumental
Label: Naïve
Magazine Review Date: 03/2018
Media Format: CD or Download
Media Runtime: 55
Mastering:
DDD
Catalogue Number: V5444
Tracks:
Composition | Artist Credit |
---|---|
Concerto in the Italian style, 'Italian Concerto' |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Lise de la Salle, Piano |
Chant Nocturne |
Thomas Enhco, Composer
Lise de la Salle, Piano Thomas Enhco, Composer |
Valse-improvisation sur le nom de Bach |
Francis Poulenc, Composer
Francis Poulenc, Composer Lise de la Salle, Piano |
Sur la route |
Thomas Enhco, Composer
Lise de la Salle, Piano Thomas Enhco, Composer |
(3) Sonatas and 3 Partitas, Movement: Partita No. 2 in D minor, BWV1004 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Lise de la Salle, Piano |
La question de l'ange |
Thomas Enhco, Composer
Lise de la Salle, Piano Thomas Enhco, Composer |
Prelude and Fugue |
Albert (Charles Paul Marie) Roussel, Composer
Albert (Charles Paul Marie) Roussel, Composer Lise de la Salle, Piano |
Fantasia and Fugue on the theme B-A-C-H |
Franz Liszt, Composer
Franz Liszt, Composer Lise de la Salle, Piano |
Author: Jed Distler
De la Salle’s hard-hitting interpretation of Poulenc’s Valse-improvisation misses the music’s lithe and debonnaire point. The ‘groove’ set up at the outset of Enhco’s four-hand piece based on the letters of Bach’s name fails to sustain as the texture grows heavier with notes. By contrast, the Bach Busoni Chaconne scintillates from start to finish, and is closer to Kissin’s instinctive bravura (RCA, 12/98) than Hélène Grimaud’s more structured, intimately scaled reading (DG, 2/09). Encho’s La question de l’ange starts out as a two-part invention before reaching out all over the keyboard.
Roussel’s Op 46 features a Prelude that’s essentially Poulenc minus humour, followed by a fugue where the last note of the B A C H motif is displaced up an octave, to caustic effect. De la Salle revels in the Liszt B A C H Fantasia and Fugue’s full-bodied keyboard deployment and galvanic rhetoric, although Marc-André Hamelin’s extraordinary transparency and lightness remain the reference point (Hyperion, 5/11). The sparse serenity of Enhcos’s L’aube nous verra enables listeners to decompress and prepare for a soft landing to a fascinating, albeit uneven programme.
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