Mozart Richard Galliano
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- Wolfgang Amadeus Mozart (1756 - 1791): Rondo alla Turca:
- 1Sonate pour piano No. 11, K. 331 (Marche turque)03:28
- Flute Quartet in D major, K.285:
- 2II. Adagio03:56
- Serenade No.13 for Strings in G major, K.525 'Eine kleine Nachtmusik':
- 3I. Allegro05:27
- 4II. Romance (Andante)05:04
- 5III. Menuet et trio (Allegretto)01:58
- 6IV. Rondo (Allegro)02:58
- 7Laudate Dominum04:45
- Clarinet Concerto In A Major, K.622:
- 8I. Allegro11:23
- 9II. Adagio07:33
- 10III. Rondo08:36
- 11Adagio pour harmonica de verre en do majeur, K. 617a03:48
Info for Mozart
I remember this like it was yesterday: an evening with Dave Brubeck at the Olympia in 2001. Obviously he played "Blue Rondo à la Turk".
Richard Galliano introduced me to violinist Jean-Marc Phillips-Varjabédian, a friend of Olivier Mantei who at that time was taking care of the music programming at the Bouffes du Nord Theatre. The idea was born to gather six musicians – five strings plus piano – and take Galliano's Franco-Italian inspiration to put new life into Astor Piazzolla's most beautiful pieces; fifteen years ago, those pieces were a long way from finding a home in most classical programmes....
Galliano and Piazzolla had met, and saying they appreciated each other is a real euphemism: love at first sight would be a better phrase! Piazzolla was no doubt the major encounter in Galliano's career, but also part of his life, because he gave him some precious advice; and he still talks about it in interviews. So Jean-Marc and Sébastien Surel took their violins, plus Jean-Marc Apap (viola), Henri Demarquette (cello), Stéphane Logerot (double bass) and Hervé Sellin (piano), and they went off to take a breather down in the Aveyron region, together with the accordion. And so began an adventure whose size.... nobody at the time could see how important or how long it would be: almost 500 concerts around the world, and a DVD five or six years later that made this tango nuevo immortal, transfigured in the loving hands of Richard Galliano and his accordion, with silky, elegant arrangements so light that nobody had heard in a tango before.
The rest followed naturally: in parallel with his career in jazz, Galliano was finding a new taste for playing with a classical ensemble, a tendency that began with the Orchestra della Toscana and the Passatori album). Unlike a chamber or symphony group, however, a sextet allows for all kinds of daring initiatives: it is wildly clever. Adjustable, flexible and manageable, the format reduced to five strings allows you to do the groundwork quicker when you want to explore. The "Bach" project became the first album for Deutsche Grammophon, and it was an unexpected success. It was the accordion-performance of works by a "monument in classics", and not only did it not cause a scandal, it seemed perfectly obvious.
And when Vivaldi's "Four Seasons" were raised, they quite naturally became the logical counterpart of the Piazzolla pieces that Richard and his sextet had played so often onstage.
"Mozart", on the other hand, is quite another challenge, filled with other difficulties, and it requires extreme sensitivity. Here, other musicians have taken up the challenge, but the sextet keeps the same instrumentation: two violins, viola, cello and bass. This time, the first violin is Bertrand Cervera, a soloist at the Orchestre National de France, with support from Stéphane Hénoch (violin), Jean-Paul Minali-Bella (viola), Raphaël Perraud (cello) and bassist Sylvain Le Provost.
Richard Galliano, Akkordeon, Bandoneon
Bertrand Cervera, Violine
Stephane Henoch, Violine
Jean-Paul Minali-Bella, Viola
Raphael Perraud, Cello
Sylvain Le Provost, Kontrabass
born 12 December 1950 in Cannes, in France. In the past, there never seemed to have been one great artist associated with the accordion, an instrument that, because of its connotations, seemed as far removed from swing as it is possible to be. Then along came Richard Galliano, fired by an unrivalled determination to share his conviction that the accordion was worthy to have a place at the heart of jazz alongside the saxophone and trumpet. Inspired by the admiration he felt for his friend Astor Piazzolla, creator of the Tango Nuevo, Galliano succeeded not just in doing this, but with his “new musette” style managed to breathe new life into a thoroughly French tradition that seemed to have got stuck. Son of the Italian-born accordion teacher Lucien Galliano, Richard started playing the instru¬ment at the age of four. At the same time as he was learning the accordion, he also studied harmony, counterpoint and trombone at the Nice Conservatoire. It was the discovery of the music of Clifford Brown that introduced him to jazz, at the age of 14, and while he picked up his style of playing choruses, he found, to his amazement, that the accordion was almost unknown in this type of music. Galliano then became interested in Brazilian accordionists like Sivuca and Dominguinhos, discovered the American specialists who approached jazz (Tommy Gumina, Ernie Felice and Art Van Damme), and the top Italian players, Felice Fugazza, Volpi and Fancelli, turning his back completely on the traditional style of playing that dominated in France. In 1973 Galliano moved up to Paris where he impressed Claude Nougaro. He spent three years as arranger and conductor as well as composer in a group where he found himself playing alongside real jazz musicians. He also played on countless recordings by popular French artists like Barbara, Serge Reggiani, Charles Aznavour and Juliette Gréco, and on film scores. From the beginning of the 1980s he was able to play much more often with jazz musicians from all backgrounds and improvise alongside them: these included Chet Baker (in Brazilian repertoire), Steve Potts, Jimmy Gourley, Toots Thielemans, the cellist Jean-Charles Capon, with whom he cut his first disc, and Ron Carter, whom he paired up with to make an album in 1990.
In 1991, following the advice of Astor Piazzolla, whom he had met in 1983 while working on incidental music for the Comédie Française, Galliano went back to his roots, and the traditional repertoire of Valses-Musette, Javas, Complaintes and Tangos that he had long disregarded. Taking a lead from the spirit of Gus Viseur and Tony Murena, he managed to rid the accordion of its old-fashioned image by working on the three-four rhythm, and introducing a whole new rhythmic concept and harmonic style to adapt it to jazz. He announced his new approach on the CD New Musette that he recorded with Aldo Romano, Pierre Michelot and Philip Catherine for Label bleu, and it won him the Académie du Jazz’s Django Reinhardt Prize for “French musician of the year” in 1993.
This led on to a whole series of albums where Galliano, playing his trademark Victoria accor¬dion, has shown his ease in adapting the instrument to the freedom of jazz. His assurance, mastery of phrasing, and ability to get a vast range of tone-colours from the accordion have meant that he has broken down musical barriers with an instrument that cuts across all genres. In 1996 he crossed the Atlantic to record his New York Tango with George Mraz, Al Foster and Biréli Lagrène, a disc that later won him a Victoire de la Musique prize. He started to gain an international reputation, and a host of new collaborations followed. He created some unusual instrumental pairings, getting together with artists ranging from Enrico Rava, Charlie Haden and Michel Portal (Portal’s 1997 disc Blow Up with him was a huge commercial success, selling more than 100,000 copies), to his fellow-accordionist Antonello Salis, in Italy, and the organist Eddy Louiss, in 2001. For years he played in a trio with Daniel Humair and Jean-François Jenny-Clarke (from 1993 until the death of the bass-player in 1998), and then returned to this format in 2004 with a “New York” rhythm, made up of Clarence Penn and Larry Grenadier. There have also been one-off collaborations with Jan Garbarek, Martial Solal, Hermeto Pascoal and Anouar Brahem, Paolo Fresu and Jan Lundgren, and Gary Burton, among others. In 1999 he presented his own compositions, with chamber orchestra accompaniment, together with pieces by Astor Piazzolla. This led to his 2003 homage Piazzolla Forever, in which he went back to playing the music of his mentor.
Galliano is an exceptionally versatile musician, able to make his mark in all kinds of musical contexts, from solo appearances (like the Paris Concert from the Châtelet, which came out in 2009), to playing with a big band like the Brussels Jazz Orchestra, in 2008. His exceptional abilities as a soloist are now well-recognized, and he continues to explore a vast range of music, without ever losing that lyrical quality that infuses the ballads on Love Day that he recorded with Gonzalo Rubalcaba, Charlie Haden and Mino Cinelu, or the “French touch” which allowed him to make the link between Billie Holiday and Edith Piaf, with the trumpeter Wynton Marsalis. Keen to pass on his wealth of experience, he is the author, together with his father Lucien, of an accordion method that won the SACEM prize for Best Pedagogical Work in 2009. (Vincent Bessières)