![Marc Coppey, Matan Porat, Barnabás Kelemen - Zoltán Kodály: Chamber Music for Cello (2022) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/03/29/mrap68s93qwha_600.jpg?resize=500%2C500&ssl=1)
Marc Coppey, Matan Porat, Barnabás Kelemen – Zoltán Kodály: Chamber Music for Cello (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:21:03 minutes | 1,51 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © audite Musikproduktion
The common question as to who was the most important Hungarian composer of the twentieth century – Béla Bartók or Zoltán Kodály – would have been vehemently rejected by the two like-minded friends. On the one hand, they shared many ideas and goals, such as researching Hungarian folk music, which they recorded in the countryside before and after the First World War using a wax cylinder phonograph. Bartók and Kodály made the original music of the peasant societies, which has nothing to do with the idea of Csárdás fire and Puszta romanticism, the basis of their own idioms, which they further developed in very personal ways. On the other hand, the careers of the two composers progressed in entirely different ways. While Bartók embraced international modernism and went into American exile at the height of fascist rule in Hungary, Kodály remained in his home country even under politically difficult circumstances, devoting himself unswervingly to his great task: integrating music into the school curriculum in order to make it the basis of national consciousness and social behaviour.
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![Marc Coppey, Orchestre Philharmonique de Strasbourg, John Nelson - French Cello (2022) [Official Digital Download 24bit/96kHz] Download](https://i0.wp.com/imghd.xyz/images/2022/04/22/g6j0dfyvwladc_600.jpg?resize=500%2C500&ssl=1)
Marc Coppey, Orchestre Philharmonique de Strasbourg, John Nelson – French Cello (2022)
FLAC (tracks) 24 bit/96 kHz | Time – 01:10:48 minutes | 1,32 GB | Genre: Classical
Studio Masters, Official Digital Download | Digital Booklet, Front Cover | © audite Musikproduktion
For more than two centuries, the Paris Conservatoire has maintained a glorious cello tradition, which since 2003 has been upheld by Marc Coppey. As a tribute to the spirit of his predecessors, he now presents three of the most famous nineteenth century cello concertos by Camille Saint-Saëns, Édouard Lalo and Léon Boëllmann, all united on one album.
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Marc Coppey, Lawrence Foster – Shostakovich – Cello Concertos Nos. 1 & 2 (2021)
FLAC (tracks) 24 bit/96 kHz | Time – 01:00:10 minutes | 1,09 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © audite Musikproduktion
This live recording of the two Shostakovich cello concertos continues audite’s cooperation with Marc Coppey, who approaches both works with boundless energy and without any sentimentality.
Dmitri Shostakovich wrote two concertos for the cello, and both are dedicated to the most eminent Soviet cellist of his time: Mstislav Rostropovich. In 1959 he wrote his first cello concerto, whose musical language is almost classical but which also reveals an enormous panorama of moods, gestures and “stories”. Seven years later, Shostakovich composed his second concerto; it builds on the confessional intensity of the first concerto but seems gloomier in character and is infused with threnodic tones. In this concert recording, Coppey performs alongside the Polish National Radio Symphony Orchestra under the baton of Lawrence Foster in the new Katowice concert hall.
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Orchestre Philharmonique de Monte-Carlo, Pascal Rophé, Marc Coppey – Mantovani – Symphonie No. 1, Abstract (2022)
FLAC (tracks) 24 bit/48 kHz | Time – 01:14:44 minutes | 742 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Printemps des Arts de Monte-Carlo
Symphonie n°1, L’Idée Fixe, pour orchestre, Abstract pour orchestre avec violoncelle principal. L’Orchestre Philharmonique de Monte-Carlo sous la direction du chef français Pascal Rophé livre deux œuvres nouvelles de Bruno Mantovani. Dans ses créations orchestrales (plus d’une vingtaine de partitions), le compositeur français avait déjà exploré de nombreuses possibilités expressives avant d’aborder le genre de la symphonie. Avec sa Symphonie n° 1, l’idée fixe (2015) – une référence à l’ « idée fixe » de la Symphonie fantastique de Berlioz – il questionne un procédé d’écriture ancestral (celui du retour d’une mélodie) pour en révéler toute sa modernité. Dans Abstract (2017), il renoue avec l’écriture soliste qui lui est chère, en confrontant le violoncelle (Marc Coppey) à l’ensemble de l’orchestre. Cette partition conçue pour le ballet chorégraphié par Jean-Christophe Maillot en avril 2018, pose avec élégance la possibilité d’une rencontre tangible entre la danse, les solistes instrumentistes et l’orchestre. Subsiste de cette dramaturgie, une musique jaillissante, sans cesse renouvelée et variée : « Bien qu’invisible et insaisissable, écrit le compositeur, ma musique est toujours liée à une perception du monde qui génère des émotions et donc du mouvement »
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