‘This set of five discs is an invitation to a rather special journey: through what you hear, and what you read too, you will traverse, guided by the cello, not one history but several histories. With these Cello Stories, our intention is to show you how an instrument and its repertoire have taken shape whilst retaining the imprint and memory of diverse origins. I have selected the musical programme from my recordings for Alpha – some of them previously unreleased – to complement the text by Marc Vanscheeuwijck and numerous contemporary illustrations.’ –Bruno Cocset
…This CD indeed offers a new approach to Antonio Vivaldi with recordings of absolutely rare chamber repertoire. The sonatas are for violoncello solo, but are here performed with a variety of continuo instruments: harpsichord, organ, theorbo, guitar and double bass or violone. The whole is very closely and clearly recorded, giving the listener the opportunity to savour the delightful sound combinations and the intense violoncello playing of Bruno Cocset who, although definitely an early music specialist, here reminds me of Pablo Casals in the way he invests "soul" particularly in the slower movements…
“This is something of a find – a production produced in Milan's television studios in 1973 that does more than justice to Giordano's verismo work about personal conflicts at the time of the French Revolution. It's directed, with considerable imagination, by the Czech Vaclav Kaslik, at the top of his profession in the 70s. In realistic period sets he unerringly creates the milieu of a degenerate aristocracy in Act 1 and of the raw mob-rule of the Revolution in the succeeding acts. The only drawback is the poor lip-synch. Conductor Bruno Bartoletti makes certain we're unaware of the score's weaker moments and releases all the romantic passion in Giordano's highly charged writing for his principals.
« Le livre que je prends la liberté de mettre entre vos mains est peut-être le livre le plus étonnant qui ait jamais été écrit - et, en considération de ce qu'il prépare, c'est presque un fragment de destin ». Les mots par lesquels Nietzsche présente à Taine son Crépuscule des Idoles signale le double dessein qu'il y poursuit : rassembler, d'une part, les grands thèmes de son œuvre (la décadence, le génie, la critique de la métaphysique… )