In a concert centered around the world of Johan-Sebastian Bach, the 5 musicians of the Pentaèdre quintet demonstrate with brilliance and virtuosity not only all their virtuosity, but also the wide variety of colors and atmospheres that the flute, the oboe, clarinet, horn and bassoon when they're having fun. Works by György Ligeti and David Maslanka with a work inspired by Bach complete this brilliant accessible and lively program!
Johann Sebastian Bach (1685-1750)
Three Chorales after Bach, arranged for wind quintet by M. Rechtman
I - Christ lag in Todesbanden (BWV 625) (2’)
II - Wo soll ich fliehen hin (BWV 646) (2’)
III - Kommst du nun, Jesu, vom Himmel herunter (BWV 650) (3’30)
Gyorgy Ligeti (1923-2006)
Six bagatelles for wind quintet (12’)
I – Allegro con spirito
II – Rubato. Lamentoso
III – Allegro grazioso
IV – Presto ruvido
V – Adagio. Mesto (Béla Bartok in memoriam)
VI – Molto vivace. Capriccioso
*Pause*
Johann Sebastian Bach (1685-1750)
Chaconne in d minor BWV1004 (arr. Mathieu Lussier) (12’)
David Maslanka (1943-2017)
Quintet no.3 (27’)
I - Slow-Moderate
II - Moderate
III - Very fast
Pentaèdre, quintette à vent
Ariane Brisson, flute
Élise Poulin, oboe
Martin Carpentier, clarinet
Louis-Philippe Marsolais, horn
Mathieu Lussier, bassoon
They said...
Even before hearing the jury’s verdict, it was obvious that flutist Ariane Brisson stood head and shoulders above the rest. Her performance of Theobald Boehm’s very long and exceptionally challenging Grande Polonaise op. 16 showcased not only her perfectly developed technique, but all manner of refinements in her articulation and tone.
It would be an understatement to say that the ray of sunshine was flutist Ariane Brisson’s performance in Bach’s Suite No. 2, admirably nurtured by the attentive and detailed conducting of Mathieu Lussier. As such, it accounted for the 29 minutes of genuine frankness and real naturalness of the evening. A musical feast and a celebration of Bach.
Ariane Brisson captive par la musicalité de son jeu, ainsi que le contrôle et la qualité de sa technique et de ses lignes musicales, mais surtout par la verve avec laquelle elle exprime et fait vivre chaque point, chaque respiration, chaque intention et subtilité de ces récits musicaux, par le prisme de son langage personnel
