L'orgue chambriste. Du salon à la salle de concert Khrystyna Sarksyan, Quentin Guérillot, Thibaut Reznicek

• Gabriel Fauré (1845 - 1924):
• 1 Andante pour violoncelle et orgue, (d'aprés Romance, Op. 69) 04:50
• Charles-Marie Widor (1844 - 1937):
• 2 Andante sostenuto de la Symphonie gothique pour violoncelle, flûte et orgue 05:33
• Marcel Dupré (1886 - 1971): Sonate pour violoncelle et orgue:
• 3 Sonate pour violoncelle et orgue: I Allegro marcato 06:34
• 4 Sonate pour violoncelle et orgue: II. Allegro moderato 03:22
• 5 Sonate pour violoncelle et orgue: III. Vivace 05:15
• Daniel Roth (b. 1942):
• 6 Aïn Karim, fantaisie pour flûte et orgue 11:49
• Rolande Falcinelli (1920 - 2006):
• 7 Kénose pour violoncelle et orgue 09:09
• Mathieu Guillou:
• 8 Intermezzo pour flûte et orgue, Op. 17 13:36
• Jean-Baptiste Robin (b. 1976):
• 9 Les Rouages du temps 05:04
• Total Runtime 01:05:12

Info for L'orgue chambriste. Du salon à la salle de concert

In order to promote and develop the little-known repertoire of chamber music with organ, Quentin Guérillot, Khrystina Sarksyan and Thibaut Reznicek focused for three years their research more specifically on chamber music featuring the organ in the French repertoire. The peerless French chamber music instruments violoncello and flute soon presented themselves as the obvious choice, given the way their sounds marry so beautifully with those of the organ, and given the quality of the repertoire written for them. Throughout the 19th century, music salons were filled with – in addition to pianos and harmoniums – organs of various sizes. This was attended by the blossoming of a vast repertoire for instrumentalists and vocalists accompanied on the “piano, organ or harmonium”, which was supplemented by numerous transcriptions written to give voice to the instruments available and musicians’ talents, be they amateur, or professional like Gabriel Fauré and Charles-Marie Widor. The latter were – we tend to forget – the muses of the organists who graced the salons of the Third Republic. Heir to this tradition, the great Marcel Dupré, organist at the Church of Saint-Sulpice in Paris, organ teacher at the Conservatoire de Paris from 1926 to 1954 and world-famous concert organist, regarded this increasingly secularised repertoire as a way of “bringing the organ into the realm of music in general.” Among his pupils were many like the late lamented Jean Guillou, and Rolande Falcinelli, who pursued the evangelistic cause of their master, dedicating part of their oeuvre to chamber music with organ. Today’s ultramodern organs in Parisian and Lyonnais concert halls continue to foster creativity in chamber music by contemporary composers such as Daniel Roth and Jean-Baptiste Robin.

Khrystyna Sarksyan, flute
Quentin Guérillot, organ
Thibaut Reznicek, cello

No biography found.

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