Agobet Génération; Phonal; Feuermann
A young French composer hints at great things to come
View record and artist detailsRecord and Artist Details
Composer or Director: Jean-Louis Agobet
Genre:
Orchestral
Label: Timpani
Magazine Review Date: 2/2006
Media Format: CD or Download
Media Runtime: 56
Mastering:
Stereo
DDD
Catalogue Number: 1C1094

Tracks:
Composition | Artist Credit |
---|---|
Génération |
Jean-Louis Agobet, Composer
Alain Billard, Clarinet François-Xavier Roth, Conductor Jean-Louis Agobet, Composer Michel Portal, Clarinet Paul Meyer, Clarinet Strasbourg Philharmonic Orchestra |
Phonal |
Jean-Louis Agobet, Composer
François-Xavier Roth, Conductor Jean-Louis Agobet, Composer Strasbourg Philharmonic Orchestra |
Feuermann |
Jean-Louis Agobet, Composer
François-Xavier Roth, Conductor Jean-Louis Agobet, Composer Strasbourg Philharmonic Orchestra Xavier Phillips, Cello |
Ritratto Concertante |
Jean-Louis Agobet, Composer
Alexander Paley, Piano François-Xavier Roth, Conductor Jean-Louis Agobet, Composer Strasbourg Philharmonic Orchestra |
Author: kYlzrO1BaC7A
Jean-Louis Agobet (b1968) embodies his French musical heritage (Berlioz, Debussy, Boulez) in an open and questioning manner. This disc offers a welcome chance to hear pieces from the past six years, with a concertante element often present. Interestingly, the one exception, Phonal, is also the least satisfying in that the orchestral writing – fastidiously scored and ingenious in its evolving from, yet constantly harking back to, the note D – sounds the intricate backdrop to a foreground activity that never quite comes into focus.
It is in the engaging, even playful, combining of soloist and orchestra that the remaining works impress. Génération pits a trio of clarinets against the orchestra over three movements, each poised between scherzo and intermezzo, and anticipating a more substantial music that remains tantalisingly out of earshot. Ritratto concertante is a ‘portrait’ of piano and pianist that develops its main motifs into a fantasia lucid in its follow-through: a work, in fact, that self-effacingly sidesteps the ‘concerto’ issue. Most impressive is Feuermann – after the cello once played by that musician and now by Steven Isserlis, who premiered this taut, eventful piece. It is likely the first movement of a concerto which, if it can maintain a similar expressive intensity, will be a fine addition to the repertoire.
The performances are perceptively directed by François-Xaver Roth and enhanced by translucent sound and detailed booklet-notes. Anyone doubting modern French music’s subversive intent is in for a pleasant surprise.
It is in the engaging, even playful, combining of soloist and orchestra that the remaining works impress. Génération pits a trio of clarinets against the orchestra over three movements, each poised between scherzo and intermezzo, and anticipating a more substantial music that remains tantalisingly out of earshot. Ritratto concertante is a ‘portrait’ of piano and pianist that develops its main motifs into a fantasia lucid in its follow-through: a work, in fact, that self-effacingly sidesteps the ‘concerto’ issue. Most impressive is Feuermann – after the cello once played by that musician and now by Steven Isserlis, who premiered this taut, eventful piece. It is likely the first movement of a concerto which, if it can maintain a similar expressive intensity, will be a fine addition to the repertoire.
The performances are perceptively directed by François-Xaver Roth and enhanced by translucent sound and detailed booklet-notes. Anyone doubting modern French music’s subversive intent is in for a pleasant surprise.
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