Après ses deux derniers albums consacrés à Scarlatti et à Albéniz, Thibault Cauvin, le guitariste qui détient le record du monde du plus grand nombre de premier prix à moins de 20 ans (13 premiers prix !), nous offre un double album éponyme riche en classiques, surprises et découvertes.Sur le premier disque, totalement inédit, Thibault Cauvin réunit les airs de guitare les plus populaires et les transcende littéralement, dont le tube incontestable et universel La vie brève de De Falla.

The fascinating album is devoted to a trio of 18th-century musicians who may be said without any exaggeration to have so exhausted the violin’s potential that their 19th-century spiritual successor, Nicolò Paganini, needed to do little more than consolidate that potential and refine the performer’s technique. The musicians in question are Jean-Marie Leclair (the ANGEL), Pietro Locatelli (the DEVIL), and Antonio Vivaldi (the PRIEST).

Towards the end of the 18th century, Paris enjoyed a musical tradition that granted the harpsichord a central place in its repertoire. Instrument makers had responded to the demands of composers for all kinds of technical capacities from the harpsichord; thus the late French harpsichord was a keyboard instrument not unto itself but very different from the harpsichords of Italy, Southern Germany, and the rest of Europe. The music performed on this recording spans from the final years of the 1760s to the late 1770s, and was written, or published, in Paris.

The Seven Last Words of Christ on the Cross: A Challenge - It was indeed a wager this commission offered to Haydn by a canon of Cadiz on the occasion of Good Friday 6 April 1787 for the Oratory of La Santa Cueva ( e Holy Cave) in that town: to compose seven adagios corresponding to the last seven words of Christ on the cross. When Haydn received the request he happened to be with the abbé Stadler and the com- poser told him of his perplexity as to how to realize such a work, “not really knowing how to write with enough variety seven adagios in succession…” e challenge was accepted thanks to his exceptional genius. is first version for orchestra was to find considerable success and was for the composer “the nest of all my works”.

After an audacious label and album debut dedicated to Webern, Beethoven and Yun, the young musicians of the Novus Quartet interpret with passion two essential works from Tchaikovsky's chamber music: the First Quartet and the Sextet 'Souvenir de Florence' aided and abetted by two guests, cellist Ophélie Gaillard and viola player Lise Berthaud.

The symphonic poems Fountains of Rome (performed for the first time 100 years ago) and Pines of Rome of the Italian composer Ottorino Respighi whisk us to the Eternal City for a unique journey between the flowing water of its famous fountains and some of its most legendary sites.

Cardinals Benedetto Pamphili and Pietro Ottoboni played a prominent role in Rome at the turn of the seventeenth and eighteenth centuries with their patronage of the three most important composers of the day, Corelli, Alessandro Scarlatti and Handel. At that time, numerous musicians converged on Rome, and the large orchestra directed by Arcangelo Corelli at the church of San Luigi dei Francesi included several famous cellists, among them G. L. Lular, N. F. Haym, F. Amadei and G. M. Perroni.

In 1517, indignant at the mercenary abuses of the Church and convinced that a public debate was needed to restore faith in the founding texts of the Bible, Luther nailed his 95 Theses to the door of the church in Wittenberg Castle. This marked the beginning of the Reformation, which was to spread all over Europe. Five hundred years later, Graham Ross here gives an insight into the emotional and dramatic strength of its theological and cultural legacy in a programme featuring Bach’s two great Reformation cantatas and other chorale-based works from the German and English traditions down to the 20th century.