In this particularly frigid January 2022 comes a breath of warmth and sunshine with this album by the excellent Antoine Tamestit. There are not many works for viola from the Baroque period, but when there are, they are good! Bach’s 6th Brandenburg Concerto features two violas, a daring move at the time. Here’s another daring artist: Georg Philipp Telemann, probably the most prolific composer in history. A tireless jack-of-all-trades, brimming with curiosity and open-mindedness, the man with 6,000 opuses (at least) was one of the first to write true concertos for the viola, an instrument that was long seen as a necessary evil, useful for filling out a middle range between the piercing, heroic high notes of the violin and the rhythmic assurance and the comforting, reassuring roundness of the cello. Telemann made it a true soloist and highlighted the particularities of this unloved instrument. While the Italians snubbed it, Telemann, the German, gave it its first dazzling performances, in the form of concertos, a solo suite, and a trio sonata. Ironically, these works sound very ‘Italian’ in their fiery outbursts and frank, radiant melodies. The program is completed by two Overtures (suites of dances in the French style, with an ample and solemn initial movement) with a vivid, very colourful, and even humorous character: the Burlesque, which musically draws the characters of the commedia dell’arte, and La Changeante, with strongly contrasting movements and explosive dynamics. It’s a pleasure, brilliantly rendered by the soloist Antoine Tamestit, who at the same time vigorously conducts the Berlin Academy of Early Music. A disc that feels good as soon as it starts, and doesn’t stop until the last second. Yeah!
Tout le contenu 360
Critique d'album Pop/expérimental / contemporain/Experimental / Contemporary/Folk/Americana 2024
N NAO – Miroir
Par Louise Jaunet
Interview Rock
Alex Henry Foster Talks About Overcoming Death and his new album, Kimiyo
Par Stephan Boissonneault
Interview Classical/classique
Information: Montreal Oct. 1970 by Tim Brady: a first opera about the October ’70 Crisis
Par Frédéric Cardin
Critique d'album Electronic/Hip Hop/hyperpop 2024
Single of the Day: Kaya Hoax ft. Magi Merlin “Hot Girls with ADD”
Par Stephan Boissonneault
Critique d'album Americana/Pop
Taylor Swift – The Tortured Poet Department: The Anthology
Par Alain Brunet
Critique d'album classique/musique traditionnelle/Classical/trad québécois 2024
Karina Gauvin – Marie Hubert : Fille du Roy
Par Frédéric Cardin
Interview Folk/Americana/Rock/hyperpop
P’tit Belliveau Talks About His New Album, Frogs, and Income Tax
Par Stephan Boissonneault
Interview Rock/Electronic/Experimental / Contemporary/expérimental / contemporain/Pop
At Annie-Claude Deschênes’ table: between utensils & sound experimentation
Par Louise Jaunet
Critique de concert Folk/Americana
Noah Kahan: An Emotive Performance with Goofy Banter
Par Serena Yang
Critique de concert
Université de Montréal | Jean-François Rivest’s Grandiose Farewell
Par Elena Mandolini
Interview classique/Jazz/Classical
OSL | Naomi Woo | Musique du Nouveau Monde
Par Alexandre Villemaire
Critique d'album classique/Jazz 2024
Nadia Labrie – Flute Passion – Claude Bolling : Suite for Flute and Jazz Piano Trio
Par Frédéric Cardin
Critique d'album Classical/classique 2024
David Jalbert – Prokofiev : Piano Sonatas vol. II
Par Frédéric Cardin
Interview Rock/Electronic/Pop/Jazz
Hawa B or not Hawa B ? “sadder but better” EP answers the question !
Par Alain Brunet
Critique de concert