Fauré - Schubert : Mélodies et Lieder

Description

Gabriel Fauré (1845-1924): Au bord de l’eau, Clair de Lune, Après un rêve, Mandoline, Mai, Nell, Les Berceaux - Franz Schubert (1797-1828): Sei mir gegrüsst, Auf dem Wasser zu singen, Aufenthalt, Du bist die Ruh, Gretchen am Spinnrade, Ständchen, Litanei. Philippe Mouratoglou's guitar offers a new instrumental setting for the melodies of Fauré and the Lieder of Schubert sung by Ariane Wohlhuter. An timeless journey. Partners on stage since 2009, Ariane Wohlhuter and Philippe Mouratoglou enjoy revealing the connections and secret links that unite certain composers across the centuries: John Dowland and Benjamin Britten yesterday, Franz Schubert and Gabriel Fauré today, in this recital of melodies they have tamed over several years. These two composers, with such different destinies, share a common point: their preference for melody, making it the purest form of their poetic art. There is so much music in these miniatures that the term "accompaniment" seems quite reductive to describe their instrumental substance: they are narratives, full of intrigue, twists, and diverse voices. For Philippe Mouratoglou, whose previous albums placed a strong emphasis on the idea of travel (Rumores de la Caleta, Exercices d’Evasion, d’Autres vallées...), adapting this music for guitar was not a form of "reduction," but rather a way to displace them, allowing them to be seen in a new light. He thus follows a long tradition that considers the act of transcription the highest tribute one can pay to a work, from the lutenists of the Renaissance to contemporary instrumentalists who no longer hesitate to enrich their repertoire by appropriating pieces not originally intended for their respective instruments. The guitar, which cannot compete with the piano in terms of resonance, has other strengths to showcase: it offers these masterpieces a clarity and unprecedented readability. Ariane Wohlhuter, a lyric soprano familiar with the baroque and classical repertoire, places an attentive voice on these delicate supporting structures, reminding us that if Schubert and Fauré reserved their best inspiration for their melodies, it is also because they felt, more than anywhere else, free to share their most intimate confessions. Gilles Tordjman