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Critiques concernant notre CD Exercitium A l'époque baroque, la transcription était monnaie courante et Jean-Sébastien Bach ne s'est jamais privé de s'adonner à ce plaisir. Retour de flamme : les transcriptions de ses œuvres sont légion! L'ensemble Laterna Magica s'est à son tour prêté au jeu et nous livre ses propres arrangements (pour flûte à bec, clavecin, violoncelle, orgue) de pièces de Bach. Un "exercice" plus que réjouissant.  Michel Debrocq, Le MAD, 24.01.07 Bach zelf beschouwde eigen en andermans werk als een goudmijn voor recyclage. Exercitium is transcriptie en soms zelfs reconstructie. Van één gambasonate van Bach bestaat een eigenhandige (waarschijnlijk vroegere) versie voor twee blokfluiten en continuo? De triosonates voor orgel: daar kunnen we toch echte trio's van maken? Het procedé werkt bij het stuk al beter dan bij het andere. Deze cd getuigt dan ook vooral van speelvreugde die zulke muziek inspireert en van het hoge technische niveau van jonge blokfluitisten van vandaag. Ze is dus paradoxaal genoeg eerder actueel dan historisch.  S. M. De Morgen, 31.01.07 Est-ce en hommage à Albert Cohen que le violoniste allemand Rainer Arndt a décidé de baptiser Solal le label qu'il a lancé voici quelques mois? Quoi qu'il en soit, à découvrir, après l'American Piano Music des sœurs Bugod et les Six Suites pour violoncelle seul de Bach par Viviane Spanoghe, le troisième opus de la collection, c'est au grand écrivain qu'on n'a pu s'empêcher de songer : "En somme, qu'est-ce que la vérité ? " C'est ce qui est entre les mots et qu'on éprouve dans la joie.  A vous le plaisir de le paraphraser en savourant ce modestement nommé Exercitium, une manière d'hommage au Père Bach par les orfèvres de l'ensemble Laterna Magica.  D.C., La libre essentielle, 03.07  In a time when players of almost any musical instrument from synthesizers to panpipes feel entitled to transcribe Bach's music for their own uses, it's a pleasure to encounter a Bach transcription disc that takes a different approach. Laterna Magica, a group of Baroque players and conservatory teachers from France and the Benelux, sets out to create transcriptions that Bach himself might have hit on as a matter of course. They transcribe several of Bach's organ trio sonatas for two recorders and a harpsichord-and-cello continuo. The trio sonata was, after all, a genre that generally featured pairs of solo instruments; Bach, with his unique totalizing mind, adapted it for his own purposes. Indeed, some of the music here either started out with the usual trio sonata texture or was later remade by Bach in that way. Furthermore, Baroque theorists posited a kinship between the organ and smaller wind instruments. For the most part it's a pleasure to hear the trio sonatas played in this way. Recorder players Nathalie Houtman and Laura Pok have a lively ensemble understanding and carry off the crucial passages, those featuring sweeping arpeggios, quite smoothly. In general, they stick close to Bach's scores, modifying them only occasionally for more idiomatic spacing and range. Each trio sonata is preceded by a prelude, played on the harpsichord and leading into the sonata without pause. The only missteps come at the end, where the program is rounded out by a few pieces outside the prevailing pattern: Bach's Pedal Exercitum in G minor, BWV 598, a pedal-only piece, is played with little effect on the cello (it probably requires seeing an organist stamping around), and in the finale chorale, Allein Gott in der Höh sei Her, BWV 676, the combination of recorders and organ sounds odd. In the main, though, this disc will provide an enjoyable and intriguing hour of listening for recorder lovers.    James Manheim, www.allmusic.com Some transcriptions work better than others. Recently I reviewed another Bach album by Trio Lézard ( Fanfare31:2) fairly positively, though there was something about the winds that interjected a feeling of “this is not the original.” On this lovely album we are also beset by arrangements, but since the period instruments consist of two recorders, cello, harpsichord, and organ, the effect is quite different. In fact, these works don’t sound like transcriptions but like the genuine article, and in Bach’s time some of them could have been (and were, in most cases), already transported into other instrumental realms. The two Trio Sonatas BWV 526 and 528 are part of the so-called “six” Trio Sonatas commonly included in any integral collection of Bach’s organ works. Though they were designated for “two claviers and pedal,” C. P. E. Bach informs us through Forkel that they were indeed intended for the pipes. This instrumentation works very well, as authentic a sound as you might imagine in this music. The other two trio sonatas are for viola da gamba and harpsichord, written during Bach’s early Köthen period (1717–23), and actually may have been intended for two solo instruments at first (there exists a version for two flutes and continuo of the Sonata BWV 1028). All of these sonatas are great works, undisputedly by Bach, and well adapted here. The chorale comes from part III of the German Organ Mass, one of 21 chorales in this piece, and as joyous and full of sparkling counterpoint as you could wish for. The strange little Pedal Exercitium sounds like a prelude to something, and in fact could well have been, as this sort of feature is not uncommon among Baroque works. Here it is played on the cello, to good effect. Finally, the four preludes are all of questionable provenance, though each certainly could be by Bach. BVW 924 is from the Clavier Book for Wilhelm Friedemann Bach , a simple but delightful composition probably from his student years. BWV 899 is a fine work hailing from the Five Preludes and Fugues collection. T he Prelude in A Minor is most certainly of unknown origin, but also an exercise in ornamentation that could have served for student purposes. Likewise the Prelude (Fantasia) BWV 921, a piece that doesn’t sound much like Bach on first hearing, but becomes more noticeable on repeats, even though Bach most likely had little if anything to do with it. I certainly should mention by name the excellent players that constitute Laterna Magica: Nathalie Houtman and Laura Pok on a variety of recorders; Bernard Woltèche mans the cello, and Raphaël Collignon slaps a fine organ and harpsichord. The recorded ambiance is wonderful, and this is most definitely an hour of relaxed and enjoyable listening. Recommended.    Steven.E. Ritter, www.arkivmusik.com , 01.09.08 Retour vers contenu du CD
Laterna Magica