Rameau: Pièces de clavecin en concerts & suite en la Bruno Procopio, Patrick Bismuth, François Lazarevitch and Emmanuelle Guigues

• 1 I. La Coulicam 03:26
• 2 II. La Livri 02:28
• 3 III. Le Vézinet 03:13
• 4 I. La Laborde 05:05
• 5 II. La Boucon 04:30
• 6 III. L'Agaçante 02:26
• 7 IV. Premier Menuet et Deuxi?me Menuet 04:03
• 8 I. La Lapoplinière 03:47
• 9 II. La Timide 04:50
• 10 III. Premier Tambourin et Deuxième Tambourin en Rondeau 02:43
• 11 I. Allemande 06:53
• 12 II. Courante 04:09
• 13 III. Sarabande 03:01
• 14 IV. Les trois Mains 04:34
• 15 V. La Triomphante 01:39
• 16 I. La Pantomime 04:17
• 17 II. L'Indiscrète 01:35
• 18 III. La Rameau 04:02
• 19 I. Fugue La Forqueray 04:18
• 20 II. La Cupis 05:30
• 21 III. La Marais 02:21
• Total Runtime 01:18:50

Info for Rameau: Pièces de clavecin en concerts & suite en la

The Pièces de clavecin en concerts are a kind of link between the Italian trio sonatas and Bach’s polyphonic trios. An example of the latter would be the trio sonata which concludes the Musical Offering. Another example would be the keyboard sonatas – for harpsichord or pianoforte – with violin or ad libitum accompaniment which were developed considerably at the end of the XVIII century, especially in France.

After many rewarding performances over the past 15 years, Bruno Procopio decided to record these master-works by Rameau. This disc, featuring the Pièces de clavecin en concerts and the Suite in A, is the result of a long collaboration between the young French Baroque soloists.

'At the heart of this most cheering of programmes, well-timed for the upcoming Rameau Year of 2014, is Bruno Procopio's harpsichord. The former student of Rousset and Hantaï confirms his immense talent, his interpretative intelligence, a flamboyant refinement that illuminates the genius of a Rameau touched by the hand of grace.' (Classique news)

'The reproduction of a Rückers sounds marvelous here under the agile and inspired fingers of the instrumentalist... invigorating and sensitive music and playing. To be listened to again and again.' (Resmusica)

'Remember this name: Bruno Procopio is one to follow closely, for his exemplary path and especially for his intelligence, his maturity.' (Nice Matin)

Bruno Procopio, harpsichord
Patrick Bismuth, violin
Francois Lazarevitch, recorders
Emmanuelle Guigues, viola da gamba

Bruno Procópio
is one of the most prominent young harpsichordists of his generation. His studies with celebrated French harpsichordists Pierre Hantaï and Christophe Rousset helped launch his career as a leading Baroque specialist in France, and beyond.

Born in Brazil in 1976, Mr Procópio’s exceptional talent brought him to France in 1994. He studied at the prestigious Paris Conservatory, and graduated in 2001 with first prizes in harpsichord and thorough bass.

Procópio founded the record label Paraty in 2007 to explore the rich repertoire of baroque and classical music on period instruments. In 2010, a Paraty CD was chosen as the “Album of the Year” at the Victoires de la Musique Classique, the most distinguished award in France. Paraty’s CDs are now distributed worldwide by Harmonia Mundi.

As a conductor, Bruno Procópio regularly conducts the Simón Bolívar Symphony Orchestra of Venezuela, with whom he recorded the album “Rameau in Caracas”. The CD was a tremendous critical success, earning the “CHOC” award of Classica Magazine and 5 stars from Diapason. It was also selected as “CD of the Week” by Le Figaro in France and Classic FM in the UK. In addition to his extensive work with the Simón Bolivar Symphony Orchestra, Procópio has conducted the Manaus Opera Orchestra in Brazil, Chile’s Catholic University Orchestra, and the Merida Symphony Orchestra. In 2012 Procópio made his début appearance at the Rio de Janeiro Opera, conducting the Brazilian Symphony Orchestra at the Teatro Municipal. The programme was the modern day premiere of Marcos Portugal’s L’Oro non compra amore.

Patrick Bismuth
Patrick Bismuth's art of the violin is a reflection of the diversity of influences that contribute to his personal style. Improvisation, folk traditions, and gypsy music are as much a part of his artistry as the Western classical canon, including Baroque violin performance practice.

This rich tapestry of interests gives his playing of classical, romantic and contemporary repertoire an unusual, arresting flair. Critics the world over laud his intensity, virtuosity and gripping stage presence; he transforms each concert into a musical voyage of cathartic expression.

Patrick Bismuth taught Baroque Violin at the Paris Conservatory from 1993 to 1998, and his teaching remains greatly in demand. He currently mentors students at the Conservatories of Paris and Versailles. In addition, he conducts his ensemble La Tempesta and performs chamber music with organist Louis Thiry and the singers James Bowman and Gerard Lesne.

Bismuth is a co-founder of the Atlantis Quartet, a period instrument string quartet. In addition, he has composed for the violin and various other ensembles; his large scale works include Unnuami (2001) for violin and his current work in progress, Takannaaluk, a vocal work set to the stage based on an Inuit language libretto.

François Lazarevitch
plays early and traditional flutes and bagpipes. He is the founder and director of the Les Musiciens de Saint-Julien, with whom he performs in France and abroad, as well as making recordings - the last one received the coveted Diapason d'Or and Choc de Classica.

Emmanuelle Guigues
studied the Viola da gamba at the Lyon Conservatory with Geneviève Bégou, then at Basel's Schola Cantorum with Jordi Savall and Paolo Pandolfo. She performs and records with various ensembles of note, including La Simphonie du Marais , Le Concert d'Astrée , and Le Baroque Nomade. In 2007, her recording of Bach's Sonatas with Bruno Procopio received a prestigious Choc award from the French magazine Le Monde de la Musique. Emmanuelle Guigues teaches the Viola da gamba at Villeurbanne's National School of Music and at the Levallois Conservatory.

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