The basic idea of this album was to play in threes... Not to play 'something', but to experiment 'in threes' with sound worlds as different as those of Bartók, Poulenc and Schoenfield. With his Contrastes, composed in 1938 for Benny Goodman, Bartók broadened his penchant for traditional music and turned it into a more universal work, influenced by jazz. Poulenc was a child of the Paris of the Roaring Twenties, influenced as much by Stravinsky, Ravel and Satie as by cabaret songs and operetta. Paul Schoenfield, born in Detroit in 1947, also likes to combine styles. Each of the movements in his trio is based on an Eastern European Hasidic melody... not forgetting the breathtaking klezmer dances of Romanian Șerban Nichifor. Almost ten years after Take 2 (Alpha211), Patricia Kopatchinskaja reunites with two great accomplices, clarinettist Reto Bieri and pianist Polina Leschenko, for a programme based around trios that celebrate the roots of these three musicians.
1 L'invitation Au Château, FP 138, Act II: Mouvement de Valse-Hésitation [01:46]
2 I. Freylakh [04:08]
3 II. March [06:12]
4 III. Nigun [04:55]
5 IV. Kozatske [04:20]
6 L'invitation Au Château, FP 138, Act III: Tempo Di Boston [02:47]
7 Le Bal Masqué, FP 60: Bagatelle [01:58]
8 L'invitation Au Château, FP 138, Act III: Follement Vite Et Gai [00:28]
9 I. Allegro Tristamente: Allegretto - TRÈS Calme - Tempo Allegretto [05:23]
10 II. Romanza: TRÈS Calme [04:40]
11 III. Allegro Con Fuoco: TRÈS Animé [03:12]
12 L'invitation Au Château, FP 138, Act III: Tempo Di Tarantella [00:25]
13 3 Burlesques, Op. 8C, BB 55: No. 2. Kicsit Azottan (A Bit Drunk) (Arr. for Violin and Piano) [02:29]
14 L'invitation Au Château, FP 138, Act III: Tres Vite Et Tres Canaille [00:34]
15 I. Verbunkos (Recruiting Dance): Moderato, Ben Ritmato [05:33]
16 II. Pihenő (Relaxation): Lento [04:21]
17 III. Sebes (Fast Dance): Allegro Vivace [07:26]
18 L'invitation Au Château, FP 138, Act III: Tango [02:46]
19 Klezmer Dance [03:08]
The basic idea of this album was to play in threes... Not to play 'something', but to experiment 'in threes' with sound worlds as different as those of Bartók, Poulenc and Schoenfield. With his Contrastes, composed in 1938 for Benny Goodman, Bartók broadened his penchant for traditional music and turned it into a more universal work, influenced by jazz. Poulenc was a child of the Paris of the Roaring Twenties, influenced as much by Stravinsky, Ravel and Satie as by cabaret songs and operetta. Paul Schoenfield, born in Detroit in 1947, also likes to combine styles. Each of the movements in his trio is based on an Eastern European Hasidic melody... not forgetting the breathtaking klezmer dances of Romanian Șerban Nichifor. Almost ten years after Take 2 (Alpha211), Patricia Kopatchinskaja reunites with two great accomplices, clarinettist Reto Bieri and pianist Polina Leschenko, for a programme based around trios that celebrate the roots of these three musicians.
