The Voice Of Rebellion
Why 'The Voice Of Rebellion?'
Our philosophy is simple: we hear tonally. If we write atonally it is because a decision has been taken to write what we don’t hear, similar to a painter painting what he doesn’t see. European musical tradition has developed over at least eight centuries, from a single vocal line to a system of complex counterpoint and the subsequent invention of the well-tempered scale in the 17th century. Counterpoint, harmony and modulation are the unique offshoots of this evolution. To abandon this unprecedented language for a tower of Babel is folly and arrogance.
We consider ourselves rebellious, as we are against the sonic experiments that masquerade as serious music, but in favour of resurrecting the disciplines we have abandoned and which lie at the core of the great European tradition.
Liaison, Piano Works by A. Berg, F. Schubert, B. Bartók and É. Tanguy
Alban Berg (1885–1935)
Sonata, Op. 1 (c 1909)
Franz Schubert (1797–1828)
Piano Sonata No. 17 in D major, Op. 53, D. 850 (1825)
Scherzo. Allegro vivace
Rondo. Allegro moderato
Béla Bartók (1881–1945)
Romanian Folk Dances, Sz. 56 (1915)
Joc cu bâta (Stick Dance)
Éric Tanguy (*1968)
Piano Music for Four Hands by Franz Schubert, and transcription by Jeremy Menuhin
Franz Schubert (1797-1828) – Lebensstürme, D 947
‘Transformation of the variation movement from the quartet ‘Death and the Maiden’
Revive this nearly forgotten score in a sensitive and compassionate performance.. prefer a more delicate touch in the opening movement .. and thus give a more ‘airborne’ quality to the tune .. convey the religious ardour of the beautiful second movement with similar restraint.. the transcendence of the movement is captured more persuasively.DSCH Journal