1 Concerto for Cello and Orchestra, Op.17 (1985-1987): Naissance 4:47
2 Concerto for Cello and Orchestra, Op.17 (1985-1987): Métamorphose 3:56
3 Concerto for Cello and Orchestra, Op.17 (1985-1987): Libération 4:56
4 Concerto for Cello and Orchestra, Op.17 (1985-1987): Affirmation 8:09
5 Folia, Op.30b (1990): Prologo 4:41
6 Folia, Op.30b (1990): Dialogo 0:59
7 Folia, Op.30b (1990): Epilogo 5:56
8 Tre Canti e Finale Op.29 (1987-89): Marcia Funebre 3:59
9 Tre Canti e Finale Op.29 (1987-89): Cavatina 5:12
10 Tre Canti e Finale Op.29 (1987-89): Stelo 1:57
11 Tre Canti e Finale Op.29 (1987-89: Finale, Cadenza I 2:55
12 Tre Canti e Finale Op.29 (1987-89: Finale, Cadenza II 2:08
13 Tre Canti e Finale Op.29 (1987-89: Finale, Cadenza III 3:02
14 Requiem, Op.23 (1987-1988): Musica Notturna I 8:29
15 Requiem, Op.23 (1987-1988): Musica Notturna II 7:11
16 Requiem, Op.23 (1987-1988): Musica Notturna III 5:40

Dominique de Williencourt – cello
Laurent Verney – viola
George Enescu State Philharmonic
Yves Prin – conductor

Né à Paris en 1961, Nicolas Bacri a été admis au Conservatoire National Supérieur de Musique de Paris en 1980, où il a été l'élève de Louis Saguer (1907-1991), Claude Ballif (1924-2004), Serge Nigg (né en 1924), Michel Philippot (1925-1996) et Marius Constant (1925-2004). Pensionnaire de la Villa Médicis de 1983 à 1985, il a été initialement marqué par la Seconde école de Vienne, par celle de Darmstadt, et particulièrement par la musique d'Elliott Carter (né en 1908) ; mais, suite à sa rencontre avec Giacinto Scelsi (1905-1989), considérant de plus qu'il « est naturel qu'un artiste réexamine ce que les artistes dominants de la génération précédente tiennent pour acquis », Bacri va progressivement se libérer de cette première influence à partir de 1985, pour aboutir vers 1987, sans intention polémique, à « l'examen de possibilités de renouement avec la pensée symphonique tonale élargie », une tonalité non fonctionnelle dans une musique cependant faite de « sons s'attirant ou se repoussant, de tensions et de détentes harmoniques et rythmiques », passant ainsi « d'un langage polyphoniquement hypertrophié (1980-85) à un langage assez clair et mélodique [après 1987] ».

A la première période de création de Bacri appartiennent, en particulier, ses Quatuors à cordes N° 1 Op. 1 dédié à Michel Philippot (1980) et N° 2 Op. 5 (1982), le Concerto pour violon et vingt et un instruments Op. 7 (1983) et la première Symphonie Op. 11 dédiée à d'Elliott Carter (1984). Le Concerto da camera quasi una sinfonia piccola « Notturni » pour sept instrumentistes et soprano Op. 14 (1985/86), le Concerto pour violoncelle Op. 17 (1985/87) dédié à Henri Dutilleux (né en 1916), le troisième Quatuor à cordes Op. 18 « Esquisses pour un Tombeau » (1985/88) et le Concerto pour clarinette « Capriccio Notturn » Op. 20 (1986/87) appartiennent quant à eux à la période intermédiaire. Depuis, Nicolas Bacri a notamment composé ses Symphonies N° 2 « Sinfonia dolorosa » Op. 22 (1986/90), N° 3 « Sinfonia da Requiem » pour chant, choeurs et grand orchestre Op. 33 dédié « à la gloire d'Abraham » (1988/94), N° 4 « Sturm und Drang » Op. 49 (1995), et n° 6 Op. 60 dédiée à Serge Nigg (1998), le Requiem « Musica notturna n° 1, 2 et 3 in memoriam Dmitri Chostakovitch » pour alto, ou violoncelle, et orchestre de chambre Op. 23 (1988), le Sextuor à cordes Op. 36 dédié « à la mémoire de Louis Saguer » (1992), le Divertimento Op. 37 pour clarinette et trio à cordes (1992), les Concertos pour trompette N° 1 Op. 39 (1992) dédié à Sir Michael Tippett (1905-1998), et N° 2 Op. 65 (2000), la Sonate pour violon et piano Op. 40 (1994), ses Quatuors à cordes N° 4 Op. 42 (1989/94, rev. 1994/96), N° 5 Op. 57 (1997) dédié Quatuor Danel, et N° 6 Op. 97 dédié au Quatuor Psophos (2006), la Cantate n° 4 Op. 44 (1995) sur le Sonnet 66 de William Shakespeare, « Une prière » pour alto, ou violoncelle, ou violon « à la mémoire des martyrs juifs de tous les temps » Op. 52 (1997), ou bien encore le Concerto da Camera pour clarinette et ensemble à cordes Op. 62 (1999)), le Concerto pour violon N° 3 Op. 83 (2003), ou bien encore la Suite N° 6 pour violoncelle seul, Op. 88 (2004). ---JRL, amazon.com

The French composer, Nicolas Bacri, began his musical career with piano lessons at the age of 7, and continued with the study of harmony, counterpoint, analysis and composition as a teenager with Françoise Gangloff-Levéchin and Christian Manen and, after 1979, Louis Saguer. He then entered the Conservatoire de Paris where he studied with a number of composers including Claude Ballif, Marius Constant, Serge Nigg, and Michel Philippot. After graduating in 1983 with a premier prix in composition, he attended the French Academy in Rome. It was during Bacri's two-year residency in Rome (1983-1985) that he met the Italian composer Giacinto Scelsi (1905-1988). Back in Paris, he worked for four years (1987-1991) as head of chamber music for Radio France. He relinquished in 1991 to devote himself entirely to composition.. He had also held residencies at the Casa de Velasquez (Spain) and with a number of French orchestras (from 1993).

Nicolas Bacri is the composer of some one hundred works in many genres, including 6 symphonies, 8 string quartets, and 27 concertos. His early works, which culminate with the First Symphony (1983-4, dedicated to Elliott Carter), are rooted in a constructivist post-Webernian aesthetic. Later compositions, beginning with the Cello Concerto (1985/87, dedicated to Henri Dutilleux), draw on the melodic continuity displaced by the predominant aesthetic of the postwar period. This change of style has placed Bacri in the musical aesthetic of his time, where a spirit of reconciliation prevails." (Philippe Michel, Grove Dictionary of Music, edition 2001)), draw on the melodic continuity displaced by the predominant aesthetic of the postwar period. This change of style has placed Bacri in the musical aesthetic of his time, where a spirit of reconciliation prevails." (Philippe Michel, Grove Dictionary of Music, edition 2001) --- bach-cantatas.com

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Concerto amoroso, Op. 80, No. 2, "Le Printemps" 	  	   	  	  	  	  
1 I. Mosaica 		3:33  	
2 II. Notturno		7:36  	  		 
3 III. Mosaica II 		1:57  	  	

Flute Concerto, Op. 63 
4 I. Largo misterioso - Allegro moderato 		4:55  	  	 
5 II. Estatico 		5:22  	  	
6 III. Andante scorrevole 		5:21  	  

7 Concerto nostalgico, Op. 80, No. 1, "L'automne" 	 
8 Nocturne, Op. 90 		4:14  	  	

Symphony No. 4, Op. 49, "Classique Sturm und Drang"
9 I. Allegro fuocoso, "Omaggio a Richard Strauss" 		3:31  		 
10 II. Arietta, "Omaggio a Igor Stravinsky" 		3:30  	  	 
11 III. Menuetto, "Omaggio a Arnold Schoenberg" 		3:14  	  
12 IV. Finale, "Omaggio a Kurt Weill" 		3:27  	  	

Lisa Batiashvili - violin
Sharon Bezaly - flute
Francois Leleux - oboe
Riitta Pesola - cello
Tapiola Sinfonietta
Jean-Jacques Kantorow – conductor

Concerto nostalgico “L’automne” and Concerto amoroso “Le printemps” are the first two panels of Bacri’s work-in-progress Les quatre saisons Op.80, a series of four concertos for oboe and other instruments. The third panel Concerto tenebroso “L’hiver” for oboe, violin and strings was first performed in January 2010. The first performance of the fourth panel Concerto luminoso “L’été” for oboe, violin, cello and strings is to take place in spring 2011.

Concerto amoroso “Le printemps” for oboe, violin and strings is in a single movement in which a long central Notturno is framed by two lively, rhythmically alert outer sections (Mosaïca and Mosaïca II). The outer sections display Neo-classical characteristics whereas the central Nocturne is at times quite intense. The scoring for oboe and cello imbues Concerto nostalgico “L’automne” for oboe, cello and strings with an appropriately autumnal colour. This, too, is in one single movement falling into four sections played without a break. The music unfolds seamlessly from the dark mood of the opening through various contrasting sections (Scherzo alla Fuga and Romanza) before reaching the beautiful, appeased epilogue.

Nicolas Bacri has composed quite a number of concertos or concertante works -some thirty of them up to now (2010). The Concerto for Flute and Orchestra is scored for fairly small orchestral forces (double woodwind, two horns, percussion and strings) and is in three movements. The first movement opens with a slow introduction leading into the main part of the movement Allegro moderato that nevertheless allows for a variety of moods. The second movement Estatico is a Nocturne of sorts - one with some very dark corners. The final movement opens with some energy, but moods vary again until the music reaches its conclusion in a night music à la Bartók in which it eventually thins away calmly.

The short Nocturne Op.90 for cello and strings is in a fairly straightforward arch-form with slow outer sections framing a more animated and tense central one. This compact work is - to my mind - a good example of Bacri’s music-making in that the music says all it has to say with not a single note wasted.

Nicolas Bacri has composed six symphonies so far and his Seventh Symphony will be premiered in autumn 2011. The Symphony No.4 “Sturm und Drang” Op.49 was written for the Orchestre de Picardie of which Bacri was composer-in-residence. The orchestra and its conductor Louis Langrée had dedicated a concert-cycle to “Sturm und Drang” compositions of the late-Classical era and wanted a new work in the same aesthetic. Bacri, however, wanted to write his own music while paying homage to some older beloved composers. The four movements of the Fourth Symphony are thus meant as homage to composers of the early 20th century (Richard Strauss, Stravinsky, Schoenberg and Weill respectively) although the music never directly quotes from or alludes to their music. The work as a whole is also a tribute to a number of other 20th century composers such as Ravel, Prokofiev and Walton. The Fourth Symphony is Bacri’s Classical Symphony paying homage to the musical past without a single hint of pastiche or parody.

One of the more endearing characteristics of Nicolas Bacri’s music is that he never outstretches or overworks his material thus achieving some remarkable concision. This is never at the expense of expression and communication. As early as 1983, when his music was still fairly adventurous, Bacri inscribed a phrase from Tristan Tzara on one of his scores: “I know that I carry melody within me and I am not afraid of it”. The works recorded here - as so much else in Bacri’s output - clearly “carry melody and are not afraid of it”.

All these performances are excellent and superbly recorded, and the whole - Martin Anderson’s detailed and well-informed insert notes included - is up to BIS’ best standards. This is a very fine release by any count. -- Hubert Culot, MusicWeb International

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1 Concerto da camera, Op. 61: I. Largo maestoso 	6:20 	
2 Concerto da camera, Op. 61: II. Capriccio - Vivace scherzoso 	3:12 	
3 Concerto da camera, Op. 61: III. Adagio espressivo 		3:13 	
4 Concerto da camera, Op. 61: IV. Allegro moderato ma con moto 	8:37 	
5 Trio No. 3, Op. 54 - "Sonata notturna": I. Enigma - Moderato, ipnotico e poco lugubre 3:30 	
6 Trio No. 3, Op. 54 - "Sonata notturna": II. Notturno - Adagio - Fantastico - Doppio… 	6:40 	
7 Trio No. 3, Op. 54 - "Sonata notturna": III. Serenata ostinata - Adagietto -… 	5:57 	
8 Symphonie No. 4, Op. 49b - "Sturm und Drang": I. Allegro fuocoso - "Omaggio a… 	3:43 	
9 Symphonie No. 4, Op. 49b - "Sturm und Drang": II. Arietta - "Omaggio a Igor… 	3:36 	
10 Symphonie No. 4, Op. 49b - "Sturm und Drang": III. Menuetto - "Omaggio a Arnold… 3:07 	
11 Symphonie No. 4, Op. 49b - "Sturm und Drang": IV. Finale - "Omaggio a Kurt Weill" 	3:41 	
12 American letters, Op. 35: I. Night Mysteries, Op. 35, No. 1 - Andante ostinato 2:00 	
13 American letters, Op. 35: II. Elegy for A.C., Op. 35, No. 1 - Lento rubato, quasi… 	7:33 	
14 American letters, Op. 35: III. Adams Dances, Op. 35, No. 3 - Vivace ritmico e con… 	2:31 	
15 Night music, Op. 73: I. Elegy - Lento lugubre 			2:34 	
16 Night music, Op. 73: II. Scherzo - Misterioso - Lentissimo funebre - Misterioso 	2:42 	
17 Night music, Op. 73: III. Lullaby - Adagio mesto - Molto lento e desolato 	2:35

Ensemble Capriccioso

Nicolas Bacri (b 1961 ). In his theoretical work Notes étrangères, Nicolas Bacri reflects on his position as a composer today and makes the following statement:

    “My music is not neo-Classical, it is Classical, for it retains the timeless aspect of Classicism: the rigour of expression.
    My music is not neo-Romantic, it is Romantic, for it retains the timeless aspect of Romanticism: the density of expression.
    My music is Modernist, for it retains the timeless aspect of Modernism: the broadening of the field of expression.
    My music is Postmodern, for it retains the timeless aspect of Postmodernism: the mixture of techniques of expression.”

He may perhaps have begun to develop this independence of spirit as far back as 1979 while studying with composer Louis Saguer (1907–91), a man of subtle but freely inspired and individual creative powers. Bacri also trained at the Paris Conservatoire (1980–83), studying composition with Serge Nigg and Michel Philippot, analysis with Claude Ballif and orchestration with Marius Constant. Between 1983 and 1985 he continued his studies with a residency at the Villa Medici in Rome. --- Gérald Hugon, naxos.com

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01. Prélude et fugue op. 91 [0:05:20.33]
02. Sonate no. 2 op. 105 : I Adagio doloroso [0:02:51.32]
03. Sonate no. 2 op. 105 : II Scherzo (Vivace non troppo) [0:05:47.05]
04. Sonate no. 2 op. 105 : III Allegro moderato alla fuga [0:02:47.01]
05. Diletto classico op. 100 no. 1 Suite baroque : I Prélude [0:01:37.37]
06. Diletto classico op. 100 no. 1 Suite baroque : II Air [0:03:28.36]
07. Diletto classico op. 100 no. 1 Suite baroque : III Musette [0:00:59.61]
08. Diletto classico op. 100 no. 1 Suite baroque : IV Menuet lent [0:02:35.70]
09. Diletto classico op. 100 no. 1 Suite baroque : V Gigue [0:01:21.72]
10. Diletto classico op. 100 no. 2 Sonatina classica : I Capriccio [0:01:56.73]
11. Diletto classico op. 100 no. 2 Sonatina classica : II Gavotte [0:01:41.25]
12. Diletto classico op. 100 no. 2 Sonatina classica : III Fuga diatonica [0:02:10.13]
13. Diletto classico op. 100 no. 3 Arioso barocco e fuga : I Arioso Barocca [0:04:19.16]
14. Diletto classico op. 100 no. 3 Arioso barocco e fuga : II Fuga monodica [0:01:41.29]
15. Deux esquisses lyriques op. 103 : I Conte russe [0:02:44.05]
16. Deux esquisses lyriques op. 103 : II Paysage scandinave [0:03:52.69]
17. Petit prélude [0:00:59.30]
18. L'enfance de l'art op. 69 no. 1 : I Nocturne no. 1 [0:01:35.46]
19. L'enfance de l'art op. 69 no. 1 : II Valse [0:02:13.38]
20. L'enfance de l'art op. 69 no. 1 : III Nocturne no. 2 [0:02:12.15]
21. L'enfance de l'art op. 69 no. 1 : IV Nocturne no. 3 [0:01:41.55]
22. L'enfance de l'art op. 69 no. 1 : V Improvisation no. 1 [0:01:52.28]
23. L'enfance de l'art op. 69 no. 1 : VI Improvisation no. 2 [0:01:10.44]
24. L'enfance de l'art op. 69 no. 1 : VII Nocturne no. 4 [0:02:19.15]
25. Petites variations sur un thème dodécaphonique op. 69 no. 3 [0:04:19.03]

Eliane Reyes – piano

This is a fine introduction to the piano music of the scandalously underrated French composer Nicolas Bacri by Franco-Mexican pianist Eliane Reyes. Her first solo recital for Naxos was released just over a year ago, spotlighting the music of the Polish French composer Alexandre Tansman. That disc was marred a little by recording hitches - ironically it was produced by Bacri! - but Reyes' contribution was immaculate This time round, Elias' artistry and Bacri's listener-friendly originality combine to produce a recital of considerable interest and broad appeal - and these are all first recordings to boot.

Reyes' recital opens with the Prelude and Fugue op.91, dedicated to René Maillard (review of a recent release of his music on Naxos), and a forceful homage to Bach. The three-movement, twice-revised Second Piano Sonata follows, its dark, sombre opening segueing into an initially ferocious scherzo, with no let-up for the pianist's fingers in the pell-mell finale. Atonality is never far away in Bacri's music, but nor is tonality, and the overall soundscape of the Sonata is one that Prokofiev and Shostakovich would recognise - and likely admire.

The most openly modernistic works are the Short Variations on a Dodecaphonic Theme and The Childhood of Art, both early flirtations with Schoenbergian principles, but even here the gentleness and lyricism of Bacri's music - the latter work, for example, contains four dreamy Nocturnes - is unlikely to offend any but the most delicate of ears.

Fast forward twenty years and Bacri was writing the Two Lyric Sketches, nostalgic, intimate pieces à la Grieg that are as lovely as they are 'anachronistic', and the unusual but genial Classical Delight, three self-standing works within a work 'in Homage to the Baroque and Classical Masters'. These are not anachronisms, but more akin to new translations of old works. Thus there is some atonal Baroque and jazzy Classicism along the way as Bacri pays tribute not only to his favourite composers from earlier centuries, but also to Prokofiev and Satie.

Reyes gives an elegant, sensitive and technically assured account of Bacri's works, most of which she premiered. Perhaps the fact that she did not premiere op.69 no.2 explains its otherwise odd absence from the programme - at six minutes in length it would have easily fitted on the disc.

As previously mentioned, sound quality is good, though there are a few minor technical anomalies, mainly, but not entirely, confined to L'Enfance de l'Art - odd squeaks in the final movement, the suspicion of one or two editing joins in other sections. The CD booklet offers nothing fancy and the notes are typically densely printed, but they are informative and well written, and there is also a nice photo of Reyes and Bacri together.

In sum, this is an ideal disc for anyone looking for a benign introduction to contemporary/atonal music, and a raspberry to those who claim that new music is all tuneless, shapeless dreck. --- Byzantion, musicweb-international.com

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