{"id":1169,"date":"2021-04-01T17:58:33","date_gmt":"2021-04-01T15:58:33","guid":{"rendered":"https:\/\/flexensemble.com\/cds\/au-suivant\/"},"modified":"2021-04-01T17:58:35","modified_gmt":"2021-04-01T15:58:35","slug":"au-suivant","status":"publish","type":"page","link":"https:\/\/flexensemble.com\/en\/cds\/au-suivant\/","title":{"rendered":"Au Suivant!"},"content":{"rendered":"[vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_image=”147″ bg_position=”left top” bg_repeat=”no-repeat” scene_position=”center” layer_one_image=”147″ top_padding=”6%” bottom_padding=”6%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” parallax_bg=”true” parallax_bg_speed=”fixed” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][image_with_animation image_url=”366″ animation=”Fade In” hover_animation=”none” alignment=”” border_radius=”none” box_shadow=”none” image_loading=”default” max_width=”100%” max_width_mobile=”default”][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][divider line_type=”No Line” custom_height=”20″][split_line_heading animation_type=”default”]\n

Au Suivant!<\/h1>\n[\/split_line_heading][vc_column_text css=”.vc_custom_1597595549128{margin-top: 30px !important;margin-bottom: 30px !important;}”]Music label: Avi<\/strong>
\nMedium: Audio CD<\/strong>
\nDate: 2019<\/strong><\/p>\n

 <\/p>\n

Our second album (Next!) highlights three different genres of French music: A youthful work by Faur\u00e9, written in the late romantic piano quartet tradition, character pieces by Ravel in a new arrangement for piano quartet and an eclectic mix of contemporary interpretations of French Chansons from Claude Le Jeune up to Georges Brassens.<\/p><\/blockquote>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”6%” bottom_padding=”6%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text css=”.vc_custom_1597595684182{margin-right: 40px !important;}”]Maurice Ravel (1875-1937) “Ma m\u00e8re l’Oye” (“Mother Goose”) in an arrangement for piano quartet by Shintaro Sakabe<\/strong><\/p>\n

    \n
  • I. Pavane of Sleeping Beauty<\/li>\n
  • II. Petit poucet<\/li>\n
  • III. Laideronnette, imp\u00e9ratrice des pagodes<\/li>\n
  • IV. Les entretiens de la belle et de la b\u00eate<\/li>\n
  • V. Le jardin f\u00e9erique<\/li>\n<\/ul>\n

    Project Chanson “French Chansons Newly Arranged for Piano Quartet<\/strong><\/p>\n

      \n
    • Johannes Sch\u00f6llhorn (*1962) “whiter” | Song nach Claude le Jeune (1528-1600)<\/li>\n
    • Sebastiaan Koolhoven (*1959) \u00bbAu Suivant\u00ab | Jacques Brel (1929-1978)<\/li>\n
    • Gordon Williamson (*1974) \u00bbChanson Ru\u00e9e\u00ab (2017)<\/li>\n
    • G\u00e9rard Pesson (*1958) \u00bbRentrez soupirs\u00ab | nach Marc-Antoine Charpentier (1643-1704)<\/li>\n
    • Konstantinos Raptis (*1973) \u00bbFlamb\u00e9e Montalbanaise\u00ab | Gus Viseur (1915-1974)<\/li>\n<\/ul>\n

      Gabriel Faur\u00e9 \u00bbKlavierquartett c-Moll, op. 15\u00ab<\/strong><\/p>\n

        \n
      • I. Allegro molto moderato<\/li>\n
      • II. Scherzo. Allegro vivo \u2013 Trio<\/li>\n
      • III. Adagio<\/li>\n
      • IV. Finale. Allegro molto<\/li>\n<\/ul>\n[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_video link=”https:\/\/www.youtube.com\/watch?v=PskS8skssUw” css=”.vc_custom_1597651203586{margin-bottom: 60px !important;}”][vc_column_text]\n

        It all began with Faur\u00e9\u2026 his C minor Piano Quartet is one of the earliest works that we learned as an ensemble. We immediately formed a personal connection to the quartet, perhaps one of Faur\u00e9\u2019s most popular chamber music works. With its emotional core, instrumental colour, flowing but clear form, and the fascinating story behind its creation, we embraced the challenge of exploring our sound and furthering our comprehension of French musical literature.<\/h3>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_background” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” bg_color=”#b8ad86″ scene_position=”center” top_padding=”6%” bottom_padding=”6%” text_color=”light” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text css=”.vc_custom_1597595861918{margin-right: 40px !important;}”]Some years later we received an unexpected gift: The first movement of Ravel\u2019s Ma M\u00e8re l\u00b4Oye arranged for piano quartet by our friend Shintaro Sakabe. \u201cTry it,\u201d he said, \u201cI think it might work\u201d. The success of this first movement quickly led to him arranging the rest of the suite. Each handwritten movement came in one by one, unexpected presents we gleefully opened at the start of rehearsals. Before long, we were including his arrangement in our concert programs. The magic of this version lies, we think, in the fact that Shintaro based it on the four-hand piano version instead of the orchestral version. It is very intimate, personal and objective, but we sometimes get a wave of the orchestral sound. It is perhaps the very essence of the French chamber music tradition.<\/p>\n

        But the idea that brought everything together for this recording was Project Chanson. The idea origins from my personal experience; without understanding French, I was always drawn to French Chansons. They popped up on my father\u2019s mixed tapes in the car and, as a teenager, I was fascinated by the extremely emotional songs like \u201cne me quitte pas\u201d by Brel. The fact that I barely understood the text didn\u2019t bother me: The theatrical gestures, the beautiful orchestrations and the way they delivered these incomprehensible texts were very powerful to me. If I could be moved by this music without understanding the text, would it be possible to perform French Chansons in a version for piano quartet without voice? Would the message or the character stay alive? This is what I was debating and, after convincing my Flex friends, we approached 3 composers and 2 arrangers. It was important to all of us that we would receive 5 totally different songs, hopefully in differing styles. And that is exactly what happened.[\/vc_column_text][\/vc_column][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_shadow=”none” column_border_radius=”none” column_link_target=”_self” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/2″ tablet_width_inherit=”default” tablet_text_alignment=”default” phone_text_alignment=”default” column_border_width=”none” column_border_style=”solid” bg_image_animation=”none”][vc_column_text css=”.vc_custom_1597595908938{margin-right: 40px !important;}”]Gordon Williamson<\/strong> decided to make fun of the entire genre, his Chanson Ru\u00e9e is a minute-long caricature of French Chanson. The Rhythm and length of phrases are there, but it has been radically sped up and he uses many percussive playing techniques and undefined tones (an attentive listener might recognize some Georges Brassens along the way\u2026.). On many occasions our audience burst out in laughter after hearing it.<\/p>\n

        Johannes Sch\u00f6llhorn<\/strong> chose to arrange a song by Claude Le Jeune (1528-1600). The original harmonies are reduced to single staccato chords in the piano from which faint, barely audible chords appear in the strings. This strikingly clear material is presented in an almost painfully slow tempo, creating a strong tension for both the audience and the performers.<\/p>\n

        Sebastiaan Koolhoven<\/strong> chose to arrange Brel\u00b4s Au Suivant. We love that this arrangement comes from a totally different genre. The desperate, angry and disappointed outcry has been translated very well in this highly emotional arrangement.<\/p>\n

        Konstantinos Raptis,<\/strong> also a good friend of the ensemble, has made quite a few tango arrangements for us. He approached this challenge in a totally different way. The introduction is quite mysterious and develops into a jazzy Musette that comes to a crazy and virtuosic explosion.[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

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