A distanced homage to the classical style, the unbridled and subtly ironic vitality of violin virtuosity, the spells of symbolist drama and the magic of childhood: it is in a kaleidoscope of forms and colours that Renaud Capuçon leads the Swiss ensemble.
A spiritual tribute to Haydn, Prokofiev's "Classical" Symphony (1918) succeeds in combining an exciting combination of incisive modernity with the rhythmic clarity, sense of structure and gallantry of the 18th century. Renaud Capuçon's bow then takes flight in the delicate concertante romance, based on a forgotten aria from Benvenuto Cellini, that is Berlioz's Rêverie et Caprice (1840), before abandoning himself to the diableries of Ravel's Tzigane (1924): all the violinistic prowess comes together, as if for a wild (though highly written) improvisation in this irresistible rhapsody. Ravel again, whose childlike spirit reaches heights of poetic imagination in Ma mère l'Oye: one hesitates between enchantment and sorcery, radiant simplicity and sly meanderings, familiarity and exoticism, like the shimmering, sometimes reassuring, sometimes disquieting, tales dear to the composer. Transported to the stage with Maeterlinck's symbolism, poetry permeates Fauré's Suite after Pelléas et Mélisande: in addition to the splendid "Sicilienne", we are enchanted by the colours of the oboe and the infinite delicacy with which the composer, modestly, suggests tragedy.
- Classical music