Vivaldi, l'âge d'or Marianne Piketty & Le Concert Idéal
Label: Evidence (LTR)
Subgenre: Chamber Music
Artist: Marianne Piketty & Le Concert Idéal
Composer: Antonio Vivaldi (1675-1741)
Album including Album cover Booklet (PDF)
- Antonio Vivaldi (1678 - 1741): Sinfonia for Strings and Basso Continuo "La Verità in Cimento" in G Major, RV 739:
- 1Vivaldi: Sinfonia for Strings and Basso Continuo "La Verità in Cimento" in G Major, RV 739: I. Allegro02:05
- 2Vivaldi: Sinfonia for Strings and Basso Continuo "La Verità in Cimento" in G Major, RV 739: II. Andante02:21
- 3Vivaldi: Sinfonia for Strings and Basso Continuo "La Verità in Cimento" in G Major, RV 739: III. Allegro (Diminutions by Olivier Fourés)01:10
- Barbara Strozzi (1619 - 1677): Lagrime mie (Diminutions by Olivier Fourés):
- 4Strozzi: Lagrime mie (Diminutions by Olivier Fourés)03:08
- Antonio Vivaldi: Violin Concerto in B Minor, RV 390:
- 5Vivaldi: Violin Concerto in B Minor, RV 390: I. Adagio - Andante molto - Allegro non molto06:03
- 6Vivaldi: Violin Concerto in B Minor, RV 390: II. Larghetto (Cadenza by Olivier Fourés)03:01
- 7Vivaldi: Violin Concerto in B Minor, RV 390: III. Allegro03:32
- Sonata a Quattro "al Santo Sepolcro" in E-Flat Major, RV 130:
- 8Vivaldi: Sonata a Quattro "al Santo Sepolcro" in E-Flat Major, RV 130: I. Largo molto02:09
- 9Vivaldi: Sonata a Quattro "al Santo Sepolcro" in E-Flat Major, RV 130: II. Allegro mà poco02:08
- Francesco Turini (1595 - 1656): Sonata a tre "Il Corisino" (Arr. for Orchestra by Olivier Fourés):
- 10Turini: Sonata a tre "Il Corisino" (Arr. for Orchestra by Olivier Fourés)03:47
- Antonio Vivaldi: Concerto for Violin and Cello in G Major "per Chiaretta e Teresa", RV 814 (Reconstruction by Olivier Fourés):
- 11Vivaldi: Concerto for Violin and Cello in G Major "per Chiaretta e Teresa", RV 814 (Reconstruction by Olivier Fourés): I. Allegro04:03
- 12Vivaldi: Concerto for Violin and Cello in G Major "per Chiaretta e Teresa", RV 814 (Reconstruction by Olivier Fourés): II. Larghetto e Siolté02:37
- 13Vivaldi: Concerto for Violin and Cello in G Major "per Chiaretta e Teresa", RV 814 (Reconstruction by Olivier Fourés): III. Allegro02:38
- Tomaso Albinoni (1671 - 1751): Sinfonia in G Minor, Si 7:
- 14Albinoni: Sinfonia in G Minor, Si 7: I. Allegro02:03
- 15Albinoni: Sinfonia in G Minor, Si 7: II. Larghetto00:58
- 16Albinoni: Sinfonia in G Minor, Si 7: III. Allegro01:09
- Marc'Antonio Ziani (1653 - 1715): Sinfonia in C Minor "del Sepolcro":
- 17Ziani: Sinfonia in C Minor "del Sepolcro"04:17
- Domenico Gallo (1730 - 1768): Sonata No. 2 in F Major:
- 18Gallo: Sonata No. 2 in F Major: II. Allegro non molto01:51
- Antonio Vivaldi: Concerto in D Major, RV 562:
- 19Vivaldi: Concerto in D Major, RV 562: II. Grave03:44
- Concerto for 4 violins in B-Flat Major, RV 553:
- 20Vivaldi: Concerto for 4 violins in B-Flat Major, RV 553: I. Allegro03:17
- 21Vivaldi: Concerto for 4 violins in B-Flat Major, RV 553: II. Largo02:46
- 22Vivaldi: Concerto for 4 violins in B-Flat Major, RV 553: III. Allegro03:40
- Concerto for strings in G Minor, RV 157:
- 23Vivaldi: Concerto for strings in G Minor, RV 157: I. Allegro02:07
- 24Vivaldi: Concerto for strings in G Minor, RV 157: II. Largo01:37
- 25Vivaldi: Concerto for strings in G Minor, RV 157: III. Allegro02:05
- L'Incoronazione di Poppea, SV 308, Act I Scene 6:
- 26Monteverdi: L'Incoronazione di Poppea, SV 308, Act I Scene 6: Basso di ciaccona (Diminutions by Olivier Fourés)01:29
Info for Vivaldi, l'âge d'or
In the golden age of Italian music, during the Baroque era, Venice shone brightly and the artistic abundance that reigned there at the time is still celebrated today. Marianne Piketty and Le Concert Idéal go off the beaten track by proposing rarer, even unpublished works by the author of the Four Seasons.
Marianne Piketty and the Ideal Concert, with the help of numerous unpublished practical documents, embark on the adventure of a journey to the heart of this Venetian school, where so many musical currents, sometimes antagonistic and anachronistic, have rubbed shoulders and let everything and its opposite germinate, without tension. From the virtuoso fevers of Vivaldi to the solemnity of Ziani, from the affects of Strozzi to the dances of Turini, saluting the majestic impetus of Gallo (whose music served as the basis for Stravinsky’s Pulcinella), Le Concert Idéal lifts the veil on a domain where reason often gives way to the senses and the force of the imagination. With a setting in space and movement imagined by the choreographer Olivier Fourés, musicologist and Vivaldi specialist, Le Concert Idéal celebrates the Venetian school with rare (sometimes unpublished) works, for a vibrant tribute to the sound mosaic of the Italian city:
«In the 17th and 18th centuries, music was everywhere in Venice, from temples to lounges, including bedrooms, streets, theaters, canals, ships and gardens. So many sets, to which is added a famous tradition: polychorality, that is to say the division of choirs and orchestras in different areas around the audience, in roundabout galleries, behind curtains, trees or fountains, behind the scenes or against the light.
The staging of a Venetian program is, in a way, an essential condition for fully enjoying its musical spirit.»
Vivaldi, the golden age: «L’esprit de cette Venise baroque où la musique est partout, des temples aux salons en passant par les chambres, rues, théâtres, canaux, navires et jardins.» (The spirit of this baroque Venice, where music is everywhere, from temples to rooms, streets, theaters, canals, ships and gardens), writes Marianne Piketty about the program of her new album.
When the musician speaks of esprit, this is also the first impression one has from the beginning, right after the first notes of a Sinfonia by Antonio Vivaldi.
At first, once again, the creative spirit of Vivaldi amazes. However, one is no less fascinated by Marianne Piketty and Le Concert Idéal, who play grippingly from the first notes. The flood of ideas, the rhythmic momentum, the many timbres burst upon the listener almost like an attack. The many impressions drag you along, like the current of the Canale Grande in Venice.
Virtuosity, a lot of drive, an irrepressible energy, sharp edges and the necessary sensitivity in the slow movements as well as a generally improvisatory ductus: Le Concert Idéal reflects in its interpretations the bustling and pulsating life of the trading city of Venice in the 18th century.
Marianne Piketty, violie
Le Concert Idéal
Solidity, ardour, virtuosity, profundity and generosity – these are the words with which the press describe acclaimed violinist Marianne Piketty, an artist who has developed a career playing an eclectic discography ranging from Bach to Piazzolla, and including recitals, chamber music concerts, original duos, classical repertoire, and contemporary compositions.
Piketty was only seven years old when she made her solo debut at the Salle Pleyel in Paris. A graduate of the Conservatoire National Supérieur de Musique de Paris and the Juilliard School, where she was taught by Dorothy DeLay, she also studied with world renowned Itzhak Perlman and Yehudi Menuhin.
Her debut at Carnegie Hall was highly praised and she went on to pursue an international career. Invitations to perform as a soloist took her from Paris to Saint Petersburg, where she worked with conductors such as Pascal Verrot, Pascal Rophé, Georges Pehivanian, Eric Bergel, and Jean Jacques Kantorow.
A passionate chamber music player, Piketty has been fortunate to have had pianists, Dana Ciocarlie, Eric le Sage, Silke Avenhaus, Sofya Gulyak, cellists Xavier Philips, Emmanuelle Bertrand, Ophélie Gaillard, Jean-Guihen Queyras, clarinetists Paul Meyer, Chen Halevi, accordeonist Pascal Contet and marimbist Vassilena Serafimova among her musical partners. Dedicated to showcasing contemporary music creations, she has commissioned pieces from numerous contemporary composers and performed the world premier of Renaud Gagneux’s concerto in Kiev with the National Philharmonic of Ukraine. She is also dedicated to the works from Graciane Finzi, Edith Canat de Chizy, Laurent Mettraux, Renaud Gagneux, Javier Torres Maldonado, Jean-Pierre Drouet, Tomas Bordalejo and Benjamin Attahir.
In collaboration with Odile Edouard and Olivier Fourés, Piketty is researching performance of historical music compositions, a testament to her commitment to early music. She has a particular interest in rare French music from the 19th and 20th centuries and has continuously supported the work of women composers.
Always eager to perform new works, Piketty assembled the Le Concert Idéal ensemble in 2013 and they are still touring with their acclaimed Vivaldi - Piazzolla, Four Seasons show. The ensemble released their first recording under the Harmonia Mundi’s Little Village label in April 2016. In artist residency for three years at the Noirlac Abbey, Le Concert Idéal is currently working on new creations including their latest, Arianna, a mix of Locatelli’s emblematic works, such as the concerti grossi, and contemporary music by Alex Nante. Directed by Olivier Fourés, Arianna will be recorded this June and released in March 2019 on the Aparté label.
Her discography is prodigious, with CDs notably including the complete works for violin solo by Eugène Ysaÿe and the complete works for violin and piano by both Gabriel Pierné and Guillaume Lekeu. Her latest recording, Bohemia, with pianist Dana Ciocarlie, has been praised by the press. Le Monde wrote, “They are a truly exceptional duo. There is a touch of Paganini at the tip of Marianne Piketty’s bow and there are Romany genes in the strings.”
A highly sought-after teacher, Piketty teaches at the Conservatoire National de Lyon and gives many master classes throughout Europe and Asia. She is artistic director of the Solistes de la Villedieu for the promotion of classical music, the Rencontres Internationales de Mirecourt and the Musique aux 4 Horizons in Ronchamp.
Marianne Piketty plays a 1685 Venetian violin by Carlo Tononi.