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Hyperion Records

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Appletree and Red Fruit (c1902) by Paul Ranson (1863-1909)
Museum of Fine Arts, Houston, Texas / Gift of Audrey Jones Beck / Bridgeman Art Library, London
Track(s) taken from CDA67820
Recording details: November 2010
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: September 2011
Total duration: 3 minutes 7 seconds

'The instinctive artistic collaboration between Alina Ibragimova and Cédric Tiberghien … is again brought to the fore in this perceptive and magically played programme of French chamber music … they have great fun with the wild gipsy flair of Tzigane, but you can tell that this spontaneity is born of deep understanding of the music’s character and of unshakeable rapport. In the entire programme the playing is of finesse and winning, communicative allure' (The Daily Telegraph)

'Just under their ease of delivery lie fire and muscle; and their dynamics and touch modulate even more than the music's keys. Ibragimova is especially adorable in the slow movement, tumbling gracefully, high in the air, through a melody that never seems to end … the best is yet to come. In the G major sonata's first movement Tiberghien stabs while Ibragimova soars, the contrast between them deliberately underlined, the better to generate extra power whenever they intertwine. The central blues movement is magnificently judged building up from coquettish whispers toward the darkly brazen … a triumph' (The Times)

'Ibragimova’s tone is taut, sweet and astringent, but with plenty of power in her bowing arm … while Tiberghien’s limpid touch and easy bravura are perfect for this music. The lovely central movement, très lent, is Lekeu’s masterpiece, done with exquisite intensity here … Ibragimova and Tiberghien do it proud' (The Sunday Times)

'This must count as one of the most satisfying surveys of Ravel's complete violin music in the catalogue' (The Strad)

'Alina Ibragimova and Cédric Tiberghien possess the rare gift of being able to recreate on disc the same captivating spontaneity and musical intensity that distinguishes their concerts. Rarely have the sleek lines and textures of Ravel's two sonatas sounded so alluring, nor the manic drive of the Tzigane so deliriously intoxicating. Their sublimely articulate and sensitive account of the Lekeu Sonata surpasses even Menuhin's 1938 trailblazer' (Classic FM Magazine)

Berceuse sur le nom de Gabriel Fauré
composer
1922; composed as part of a homage to Fauré in the October 1922 Revue musicale

Introduction  EnglishFrançaisDeutsch
From his arrival in Fauré’s class until that composer’s death in 1924, Ravel remained on friendly terms with his teacher, even though his music shows barely any Fauréan influence other than a distaste for loquacity. When the journalist Henry Prunières was planning a Fauré number of his Revue musicale in October 1922, Ravel joined six other pupils in providing a musical homage. Fauré had been let in on the idea and had suggested a theme drawn from his music to Prométhée, but in the end his pupils chose a musical transliteration of the name Gabriel Fauré: GABDBEE FAGDE. Ravel’s Berceuse has an unassuming grace worthy of its dedicatee, and its contrasts, as in the early Sonata movement, are largely between modal and chromatic harmonies. The score is marked semplice and the violin is muted throughout.

from notes by Roger Nichols © 2011

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