LES CHOSES DE LA VIE – CINEMA II
Renaud Capuçon, Duncan Ward, LES SIÈCLES
Following his beloved and best-selling 2018 album of music from popular films, Renaud Capuçon returns to the magical world of cinema in Les Choses de la Vie – Cinema II. The violinist has dedicated this sequel to 19 titles written by French film composers or for iconic French films. This includes, among others, Michel Legrand’s “The Windmills of Your Mind” featured on the 1968 soundtrack to The Thomas Crown Affair; Joseph Kosma’s “Les Feuilles mortes”, or “Autumn Leaves”, heard in the 1946 film Les Portes de la nuit (Gates of the Night); and themes from the scores to The Shape of Water (2017) by Alexandre Desplat, Lawrence of Arabia (1962) by Maurice Jarre, Memories of Me (1988) by Georges Delerue, and Les Choses de la vie (1970) by Philippe Sarde, which inspired the project’s name. “There’s a great tradition of film music among French composers,” explains Renaud Capuçon. “Each has their own personality, their own style. The music of Alexandre Desplat or Jean-Claude Petit has nothing in common with that of Gabriel Yared or François de Roubaix, but all these titles have a typically French touch and charm.” For this new cinematic musical experience, the French violinist has joined with the musicians of Les Siècles orchestra and conductor Duncan Ward.
LES CHOSES DE LA VIE – CINEMA II
Mozart: Piano Quartets
Debussy: Sonatas and Trio CD review
” [Pianist Bertrand Chamayou] is joined by Edgar Moreau in the Cello Sonata and Renaud Capuçon in the violin work. (…) Capuçon, Moreau and Chamayou play it very winningly. “
The Guardian,
CD with Glass Violin concerto (Bruckner Orchestra Linz, Dennis Russel Davies)
” Capuçon’s violin soars high above a descending chaconne bass in the slow middle movement, creating a beautiful glowing sonic halo. “
Gramophone,
Timeless in Central Park
” The violinist Renaud Capuçon made a notable Philharmonic debut in Saint-Saëns’ Concerto No. 3, playing with coppery tone, understated tenderness in the slow movement and charming daring in the finale. “
New York Times, Friday, June 19th
