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Remy Franck
Pizzicato, July 2017

Mostly very dramatic, sometimes rough and dissonant music with powerful orchestral outbursts, after which the lyrical element creates a welcome contrast. The works are played by very committed performers and get all the intensity one can expect. © 2017 Pizzicato



Jerobear
Review Corner, July 2017

Like the storm [El-Khoury] (successfully) portrays, the music is wild and dramatic, though not always, and like a big storm, comes and goes, in places a little chaotically. It’s probably sacrilege but untamed nature, dramatic music—in places it reminded us of the theme to Jaws, something wicked this way coming, building to a crescendo and then fading. If it’s not actually like John Williams’ score, the comparison gives you some idea of its power and energy.

Elsewhere on the programme is Espaces-Fragmentations, which reflects on time and was written in the style of Beethoven, performed live between the Second and Pastoral. Poème Nocturne was inspired by French flautist Jean-Pierre Rampal, while closing piece Le Chant D’amour ends in as dramatic a fashion as the opening, though more Richard Strauss than great white. © 2017 Review Corner Read complete review



David Denton
David's Review Corner, June 2017

A disc assembled from recordings made by Radio France continues the Naxos series of music by Bechara El-Khoury, the Lebanese composer now living in Paris. He is at home as a scene-painter in music, here capturing the mood of Orages (Storms) that in his childhood often broke out over Lebanon, with its rumblings and flashes of lightening here depicted in a noisy score replete with brass and percussion. The performance appears to come from its premiere with the Orchestre de Paris, conducted by Paavo Järvi in 2013. Two years earlier his Sixth Symphonic Poem, Espaces-Fragmentations visualises a strange journey into a night that passes our world like a flash of lightning before the universe reverts to calm. The Poeme nocturne, a work for solo flute and orchestra ‘in three parts’, requires a soloist in the outer parts when it explores the smooth and limpid side of the instrument. Between those parts that have a feel of meditation and mystery, the orchestra bring a moment of highly charged drama. The soloist is the Orchestre de Paris distinguished principal flautist, Vicens Prats. The rather brief disc ends with Le Chant d’amour (The Song of Love) for soprano, an updated version of Richard Strauss’s lieder, and here sung by Ariane Douguet with the Orchestre Colonne conducted by David Coleman. You will have to change volume setting between tracks, but the quality of the sound is exemplary and well defined. © 2017 David’s Review Corner





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