English (United Kingdom)French

Leave greenery.

last words of George Sand

prous EXTRACTS

 

 

 

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ravel EXTRACTS

Extract of the first movement of Ravel's Trio

Extract of ''Night'' of Mel Bonis

Extract of the second movement of Fauré's trio

 

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Press

Telerama, january 25, 2012

A glorious feat of Virginie Buscail, Nadine Pierre, Anne-Lise Gastaldi.

Fluidity of Ravel, Bonis 's opulence, a voluptuous Faure, the George Sand trio in all its forms.

Falsely modest, Ravel played down his success upon completion of his trio in the summer of 1914 : '' An other simple trio'', '' Not too many trios anyway!'' Indeed, unlike their colleagues across the Rhine, few French composers have excelled in this genre that equally combines piano, violin and cello. But redeeming quantity with quality, there are practically only masterpieces: the new recording of the female George Sand trio shows it. It brings together Ravel's trio, one of Gabriel Faure and two short pieces '' Matin et Soir'' ( Morning and Evening) of a talented disciple of César Franck, Melanie Bonis ( called Mel).

The warmth and opulence of her writing reflects the influence on the author of the Beatitudes on her. This brief diptych, between whim and reverie, is not disfigured next to the pages of Ravel and Faure and tells a lot about the strong artistic personality of Mel Bonis, who died the same year as Ravel. Ravel's trio is one of his masterpieces, misunderstood and obscured by his string quartet, more pleasant and accessible. The trio deploys in a very large kaleidoscope all the facets of Ravel's personnality: the dandy modern style, flirting with jazz, the esthete scholar, entitling the second movement of his quartet "Pantoum", name of a poetic form , being honored by Hugo and Baudelaire, where each quatrain contains two identical verses of the previous.The melodic arabesques of Ravel thwart the flexibility and fluidity of these acrobatic constraints. The third movement, a dark passacaglia , with long monotonous chants, reveals the dark side of Ravel, who, in a casual apache pose, barely hides his anxiety and difficulty of being. Nadine Pierre's burning cello, like the deep bass of Anne-Lise Gastaldi's piano, explore the darkness, which prefigure those of the Concerto for the Left Hand. In contrast to this tormented work , the trio of Gabriel Fauré breaths with serenity.Wisdom of an old man of 77 years old, not spared by physical illness , but who still continues to be inhabited by creative inspiration .No warmth in this uncluttered and solar music driven by the same pleasure than for the melodies of the chimeric Horizon, the ultimate vocal cycle by Fauré: "I have great unsatisfied departures in me." Set sail with the great sailors of the George Sand trio.

Classica March 2012

As its name suggests it, the George Sand Trio is a group of women, claiming the freedom and artistic commitment of the author of Indiana. As highlighted in Nicolas Southon's Notice, after the Second Trio of Saint-Saens, in 1892, the french production of trio virtually ceased. Ravel's Trio in 1914, can be understood, as most of his pieces at the time, as a composition in the second degree where the artifice is king, but without lacking strength and lyricism. The interpreters firstly recorded the Urtext edition (Bärenreiter, 2009) and not the traditional Durand edition, revised by Casella.

Ravel's intentions are more precise. Fauré's Trio (1923) is the penultimate volume of a composer already old and sick. This bright composition seems lost in its time, yet it does not show any nostalgic return to the past. The art of Fauré is here regenerated, lyrical, powerful, clear. The diptych of Mel Bonis (Evening, Morning) is more rooted in the nineteenth century, although it dates from 1907. In this (beautiful?) time still existed a tradition of chamber music at home. The two parts (seven minutes in all) are therefore linked to this fine art, where it is here brought to its highest level, especially with ''Matin '' (Morning) offering delicalty"impressionist" harmonies.

The work of the George Sand trio is of exceptional quality, especially in the sonic creativity of Ravel's pieces. If the first movement of Fauré lacks a bit of tension, the rest is sublime with lyricism and strength.

ResMusica January 2012

The George Sand trio plays a new Piece of Ravel

Interesting in many respects, this version of two major trios, masterpieces of the author and of the genre. By a talented female ensemble, the carving of Ravel's trio will delight the purists. Indeed, the musicians of the George Sand Trio strive to base their interpretation on the Bärenreiter edition of 2009. It replaces the single edition "authorized" by Durand. And when compared to the original manuscript of Ravel, one realizes that some changes have been made. Alfredo Casella, who played the piano during the creation in 1915, had been entrusted by Ravel the task to review and correct the first edition, and this from his manuscript, without knowing if Ravel had been kept informed of the possible changes during the operation.

These changes are of a detailed nature that can only be seen with the composition in hand and with a very attentive ear. But all the movements of the trio are involved and especially the famous "Pantoum".

The other point of interest is the discovery of a composer, Mel Bonis, chronologically between Fauré and Ravel. The diptych "Evening and Morning" dates to 1907. Two genre pieces, as they say, short, with the color much attached to postromantism to Impressionism.

George Sand Trio performs in a particularly subtle and constantly nuanced way these works that require a lot of delicacy and especially knowledge of the French spirit: rigor, clarity, delicacy, sprinkled with a touch of intellectualism. The relationship between the piano, sometimes very present in Ravel, and the two strings is always fair and balanced.

Nicolas Mesnier-Nature

 

 

 

Lili-Boulanger

EXTRACTS

Lili Boulanger : D'un matin de printemps

 

Claude Debussy: Printemps

 

 

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Press

The simultaneous publication of music compositions and this recording, which is a world premiere, is an event that the Foudation is pleased to sponsor by giving its full support to the George Sand Trio for this great event.

Alexandra Laederich, secretary of the Nadia and Lili Boulanger Foudation

On Friday, at the theater la Fenice in Venice, the George Sand Trio presented the event '' Roman Stopovers'', a musical evocation of life at the Villa Medicis. On the 5th of March, an album dedicated to Claude Debussy and Lili Boulanger will be released under the label Integral […] In line with this show, the George Sand Trio contributes, to the rediscovery of this sensitive musician […] in a CD devoted to the two composers, which shows with talent and emotion the community spirit of this music.

Le Figaro

George Sand Trio, is composed of three young women with successful careers, who together, interpret a forgotten repertoire. As a preview to their trip to the Musicora Salon, they present beautiful but little known pieces of Debussy, and others, quite unknown, of Lili Boulanger, great poet of music that died at the age of 24 and now forgotten. Their CD produced by Integral Classic makes you dream.

Le Figaroscope

George Sand Trio celebrated a great lady who died prematurely : Lili Boulanger, the first woman to win the first Grand Prix de Rome in 1913! Virginia Buscail, violinist, and Nadine Pierre, cellist, both soloists of the ''Orchestre Philharmonique de Radio France'' and Anne-Lise Gastaldi, pianist, professor at the Paris Conservatoire, literally enchanted the audience. '' D'un matin de Printemps'' and ''Nocturne'', two lyric and enchanting pieces, showed the strengh of Lili Boulanger when she faces a young Claude Debussy, of which '' Spring'' also part of the program, remains a youthful piece still influenced by Massenet.

Musicora 2007 – Record Release Concert

''Trio in G major'', early work of Claude Debussy, is accompanied by […] the transcription for ''trio of Spring''. But the interest of this recording lies in the pieces of Lili Boulanger, a brilliant musician whose premature death deprived her of a brilliant career from which we could have expected significant contributions[...]

The George Sand trio charms with the works of Debussy and gives of Lili Boulanger's pieces the most accurate picture,

The world of Music

Prior to languishing at the Villa Medici, Debussy [...]tries in Florence a first for the occasion : a trio for piano, violin and cello. […] Lili Boulanger, the first woman to win the Prix de Rome in 1913, discovered very early her personal style, serious and tormented as evidenced by her trio '' D'un soir triste'' ( From a sad evening) or ''Nocturne'' for piano and violin. The young prodigy died prematurely at age 25 in 1918- year of the death of Debussy. By bringing theses pages together that display a family resemblance but without looking alike completly the female instrumentalists of the George Sand trio threw a stone in the pool … of the devil.

Telerama

A fascinating CD that features rare works by Debussy and Lili Boulanger, just out of oblivion by the Trio George Sand, who likes to play on a diverse range, trio, duo, solo, to bring a major work with complementary compositions in other formation. […] The three ladies of George Sand trio, in addition to playing wonderfully well make us appreciate pure jewels.

L'education musicale

At eighteen, Debussy composed a trio, not well known because atypical of Debussy. Still: it is a work far more successful than many laborious compositions of chamber musicians of that time. […] We appreciate the commitment and high performance level of the George Sand Trio.

Classica-repertoire

The double advantage of this recording lies in the discovery of unpublished opus of Lili Boulanger and their co-programming with compositions of the young Claude Debussy […] is interesting to hear how two pieces in progress, two personal and innovative languages blend together … The female George Sand trio is composed of Virginie Buscail (violin), Nadine Pierre (cello) and Anne-lise Gastaldi (piano), three proven chamber musicians who honor the clarity, power and relationship of the discourses.

La Marseillaise