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{ Album } Pierre Fouchenneret & Romain Descharmes Beethoven: Complete Sonatas for Piano & Violin ^ free^

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{ Album } Pierre Fouchenneret & Romain Descharmes Beethoven: Complete Sonatas for Piano & Violin ^ free^

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FULL ALBUM CLICK HERE: http://mp3now.live/1140956476-pierre-fouchenneret-romain-d-beethoven-complete-sonatas-fo-2016-252

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Tracklist:
1. Sonata for Piano and Violin No. 4 in A Minor, Op. 23: I. Presto
2. Sonata for Piano and Violin No. 4 in A Minor, Op. 23: II. Andante scherzoso, più allegretto
3. Sonata for Piano and Violin No. 4 in A Minor, Op. 23: III. Allegro molto
4. Sonata for Piano and Violin No. 5 in F Major, Op. 24 "Spring": I. Allegro
5. Sonata for Piano and Violin No. 5 in F Major, Op. 24 "Spring": II. Adagio molto espressivo
6. Sonata for Piano and Violin No. 5 in F Major, Op. 24 "Spring": III. Scherzo. Allegro molto
7. Sonata for Piano and Violin No. 5 in F Major, Op. 24 "Spring": IV. Rondo. Allegro ma non troppo
8. Sonata for Piano and Violin No. 2 in A Major, Op. 12: I. Allegro vivace
9. Sonata for Piano and Violin No. 2 in A Major, Op. 12: II. Andante, più tosto allegretto
10. Sonata for Piano and Violin No. 2 in A Major, Op. 12: III. Allegro piacevole
11. Sonata for Piano and Violin No. 3 in E-Flat Major, Op. 12: I. Allegro con spirito
12. Sonata for Piano and Violin No. 3 in E-Flat Major, Op. 12: II. Adagio con molt'espressione
13. Sonata for Piano and Violin No. 3 in E-Flat Major, Op. 12: III. Rondo. Allegro molto
14. Sonata for Piano and Violin No. 1 in D Major, Op. 12: I. Allegro con brio
15. Sonata for Piano and Violin No. 1 in D Major, Op. 12: II. Tema con variazioni. Andante con moto
16. Sonata for Piano and Violin No. 1 in D Major, Op. 12: III. Rondo. Allegro
17. Sonata for Piano and Violin No. 6 in A Major, Op. 30: I. Allegro
18. Sonata for Piano and Violin No. 6 in A Major, Op. 30: II. Adagio molto espressivo
19. Sonata for Piano and Violin No. 6 in A Major, Op. 30: III. Allegretto con variazioni
20. Sonata for Piano and Violin No. 7 in C Minor, Op. 30: I. Allegro con brio
21. Sonata for Piano and Violin No. 7 in C Minor, Op. 30: II. Adagio cantabile
22. Sonata for Piano and Violin No. 7 in C Minor, Op. 30: III. Scherzo. Allegro
23. Sonata for Piano and Violin No. 7 in C Minor, Op. 30: IV. Finale. Allegro - Presto
24. Sonata for Piano and Violin No. 8 in G Major, Op. 30: I. Allegro assai
25. Sonata for Piano and Violin No. 8 in G Major, Op. 30: II. Tempo di minuetto, ma molto moderato e grazioso
26. Sonata for Piano and Violin No. 8 in G Major, Op. 30: III. Allegro vivace
27. Sonata for Piano and Violin No. 9 in A Major, Op. 47 "Kreutzer": I. Adagio sostenuto - Presto
28. Sonata for Piano and Violin No. 9 in A Major, Op. 47 "Kreutzer": II. Andante con variazioni
29. Sonata for Piano and Violin No. 9 in A Major, Op. 47 "Kreutzer": III. Finale. Presto
30. Sonata for Piano and Violin No. 10 in G Major, Op. 96: I. Allegro moderato
31. Sonata for Piano and Violin No. 10 in G Major, Op. 96: II. Adagio espressivo
32. Sonata for Piano and Violin No. 10 in G Major, Op. 96: III. Sherzo. Allegro - trio
33. Sonata for Piano and Violin No. 10 in G Major, Op. 96: IV. Poco allegretto

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[320 kbps] Pierre Fouchenneret & Romain Descharmes - Beethoven: Complete Sonatas for Piano & Violin 2019 download

Info for Gabriel Fauré: Horizons Designed as an bathe in Gabriel Fauré's assembly harmony, the double album witness by the pianiste Simon Zaoui with Pierre Fouchenneret on the violin, Raphaël Merlin on the violoncello and the understanding David Lefort, undo the secrets of Fauré’s lately denominate. In offend of their qualified chemic density, the French composer's scores still retain the enchantment of his youthful toil where his melodic genius was more immediate. If Fauré knew the German composers, his vent is of a different sort. No extravagant effusion in his music but an deep-seated passion that is perfectly renew here. Around the pianist Simon Zaoui, who subtly underlines the serious gravity of the last three Nocturnes, the musicians perform Fauré’s sonatas, trios and the autumnal melodies of L'Horizon chimérique." Simon Zaoui, pianoPierre Fouchenneret, violinRaphaël Merlin, celloDavid Lefort, character

Pierre Fourchenneret one of the associated artists of the Foundation Singer Polignac, has enjoyed a strong acknowledgment right back to his kind years. Thus as willingly as his dozenth year he was given the first prize for violin at the CNR - National Regional Conservatory - in Nice; then at sixteen the first prize for catgut and chamber music at the CNSM - National Superior Conservatory of Music - in Paris; and he was a rate winner for Nataxis, and for the Grand Prize of the International Competition of assembly music in Bordeaux. Enriched by the exceptional teachings he help from Alain Babouchian at the CNR in Nice, Olivier Chartier at the CNSM in Paris and Devy Erlih, Pierre Fourchenneret has wished to transmit as well and has become a index finger in the Superior Pole of Bordeaux. This recognition also gives him the pleasure to collaborate with the most intelligent musicians of his generation and to give performances on the top general and international showy. This is how in 2013 he miscarry the quartet Strada with François Salque, Sarah Nemtanu and Lise Berthaud. His sentimentalism, "his intense, precise and colourful playing" (Classica) and his buoyancy are distinguish by French and international orchestras as the once in Bordeaux Aquitaine, Dijon, the philharmonic in Nice, Brno, the Baltic in St Petersburg. With a anger for chamber chime, he is also the crowder of the string trio 71 together with Eric Picard and Nicolas Bone. In the series of his career as a soloist and as a chamber musician, his first witness zealous to Mendelssohn trios comes out in 2007. It will be followed by a order of records, all of them unanimously praised by the critics. Thus he is awarded the Choc Classica for a register devout to the French epitaph George Louis Onslow. In 2015 he publishes no less than three opus; the first one is dedicated to(predicate) to the quartet with piano no. 3 work 3 by Mendelssohn; in the second one "Bohème", he interprets the Bach Chaconne, the Kodaly Duo with François Salque and the help Bartok sonata for violin and pianoforte with Romain Descharmes. Finally for the third one, again with Romain Descharmes he repeat Beethoven's concluded sonatas for violin and pianette. Driven by his absolute suffering for this sonnetize, he darken his business and at the inception of this year 2016 he releases a testimony of his last two quartets. The year 2016 will be hence by numerous outshoot among which a ponder shape the consummate melody for viol of Fauré. In 2017 he will start a age of the complete Brahms chamber harmony abreast Eric Lesage. The work done by Pierre Fourchenneret which we can disclose in particular with his distinct recordings, revert his perpetual search for an aesthetic that is pure and free of pretend, but also his mysterious nothing and deem of the SMS. Wonderful on omnibus, Pierre Fourchenneret can also take venture and hold his audience: "It was so uncover to listen to the quality of the muteness of the general positively catch Overwhelming is the discourse that was on the melody lovers' lips, in a quality of shaggy"; "a large notorious had come and was felt of their exempt in mind a rare plan" (Ouest France).

Pierre Fourchenneret one of the associated artists of the Foundation Singer Polignac, has enjoyed a strong acknowledgment right back to his kind years. Thus as willingly as his dozenth year he was given the first prize for violin at the CNR - National Regional Conservatory - in Nice; then at sixteen the first prize for catgut and chamber music at the CNSM - National Superior Conservatory of Music - in Paris; and he was a rate winner for Nataxis, and for the Grand Prize of the International Competition of assembly music in Bordeaux. Enriched by the exceptional teachings he help from Alain Babouchian at the CNR in Nice, Olivier Chartier at the CNSM in Paris and Devy Erlih, Pierre Fourchenneret has wished to transmit as well and has become a index finger in the Superior Pole of Bordeaux. This recognition also gives him the pleasure to collaborate with the most intelligent musicians of his generation and to give performances on the top general and international showy. This is how in 2013 he miscarry the quartet Strada with François Salque, Sarah Nemtanu and Lise Berthaud. His sentimentalism, "his intense, precise and colourful playing" (Classica) and his buoyancy are distinguish by French and international orchestras as the once in Bordeaux Aquitaine, Dijon, the philharmonic in Nice, Brno, the Baltic in St Petersburg. With a anger for chamber chime, he is also the crowder of the string trio 71 together with Eric Picard and Nicolas Bone. In the series of his career as a soloist and as a chamber musician, his first witness zealous to Mendelssohn trios comes out in 2007. It will be followed by a order of records, all of them unanimously praised by the critics. Thus he is awarded the Choc Classica for a register devout to the French epitaph George Louis Onslow. In 2015 he publishes no less than three opus; the first one is dedicated to(predicate) to the quartet with piano no. 3 work 3 by Mendelssohn; in the second one "Bohème", he interprets the Bach Chaconne, the Kodaly Duo with François Salque and the help Bartok sonata for violin and pianoforte with Romain Descharmes. Finally for the third one, again with Romain Descharmes he repeat Beethoven's concluded sonatas for violin and pianette. Driven by his absolute suffering for this sonnetize, he darken his business and at the inception of this year 2016 he releases a testimony of his last two quartets. The year 2016 will be hence by numerous outshoot among which a ponder shape the consummate melody for viol of Fauré. In 2017 he will start a age of the complete Brahms chamber harmony abreast Eric Lesage. The work done by Pierre Fourchenneret which we can disclose in particular with his distinct recordings, revert his perpetual search for an aesthetic that is pure and free of pretend, but also his mysterious nothing and deem of the SMS. Wonderful on omnibus, Pierre Fourchenneret can also take venture and hold his audience: "It was so uncover to listen to the quality of the muteness of the general positively catch Overwhelming is the discourse that was on the melody lovers' lips, in a quality of shaggy"; "a large notorious had come and was felt of their exempt in mind a rare plan" (Ouest France).

Happily, the later works discover more satisfying dynamic exactitude. Fouchenneret and Descharmes’s effervescent way with Op 30 No 3 left me expressly gyratory with revel. The Kreutzer is also powerfully impressive. Never mind that Variation 2 in the second figure perceive marginally étude-similar, their interpretation has a thrillingly robust dramatic grip, as well as unusual poise, even in the galloping fire of the Presto finale. Op 96 is perhaps murdrir still. Listen to the eduction profile of the first movement (beginning around 5'14"), where the players give the mark of opinion their street, awestruck, into uncharted sensational region. The Adagio, too, is achingly inward, and the finale encompasses a circle in itself, one full of smiling spontaneity and hymn.

« One of the greatest defiance in this above all of Ravel's pianette employment is to particularize the musics dancing sprightliness and ardent phrasing without sonifaction designing and arch, a test which Descharmes die with flying colours as he enters into each miniature diacritic unharmed-globe. This is force playing that capture the listener on a mortal sensational journey, never generalizing the specific. » - Julian Haylock, International Record Review

Happily, the later works discover more satisfying dynamic exactitude. Fouchenneret and Descharmes’s effervescent way with Op 30 No 3 left me expressly gyratory with revel. The Kreutzer is also powerfully impressive. Never mind that Variation 2 in the second figure perceive marginally étude-similar, their interpretation has a thrillingly robust dramatic grip, as well as unusual poise, even in the galloping fire of the Presto finale. Op 96 is perhaps murdrir still. Listen to the eduction profile of the first movement (beginning around 5'14"), where the players give the mark of opinion their street, awestruck, into uncharted sensational region. The Adagio, too, is achingly inward, and the finale encompasses a circle in itself, one full of smiling spontaneity and hymn.

Faust and Melnikov relic my top selection for a late recording of these sonatas, but Fouchenneret and Descharmes are absolutely rate a eavesdrop. I’ll without a doubt be requite to their rich accounts of the last three sonatas as well as the Spring, and I eagerly expect forward to earshot more from them.

Designed as an dip in Gabriel Fauré's chamber rondo, the fold album witness by the pianist Simon Zaoui with Pierre Fouchenneret on the fiddle, Raphaël Merlin on the cello and the course David Lefort, undo the latent of Fauré’s slow title. In mortification of their qualified chemic density, the French composer's Bill still retain the entice of his youthful works where his melodious talent was more express. If Fauré knew the German composers, his expression is of a different sort. No extravagant effusion in his melody but an innermost feeling that is throughly heal here. Around the pianofortist Simon Zaoui, who artfully highlight the serious sobriety of the last three Nocturnes, the musicians do Fauré’s sonatas, trios and the autumnal melodies of L'Horizon chimérique." Simon Zaoui, pianoPierre Fouchenneret, violinRaphaël Merlin, celloDavid Lefort, nature

Designed as an dip in Gabriel Fauré's chamber rondo, the fold album witness by the pianist Simon Zaoui with Pierre Fouchenneret on the fiddle, Raphaël Merlin on the cello and the course David Lefort, undo the latent of Fauré’s slow title. In mortification of their qualified chemic density, the French composer's Bill still retain the entice of his youthful works where his melodious talent was more express. If Fauré knew the German composers, his expression is of a different sort. No extravagant effusion in his melody but an innermost feeling that is throughly heal here. Around the pianofortist Simon Zaoui, who artfully highlight the serious sobriety of the last three Nocturnes, the musicians do Fauré’s sonatas, trios and the autumnal melodies of L'Horizon chimérique." Simon Zaoui, pianoPierre Fouchenneret, violinRaphaël Merlin, celloDavid Lefort, nature

Saturday, October 8 at 11am at the Théâtre des Champs Élysées, meet three members of the Bach family. The father and two of his sons, all composers, will be your pimp guides along this passage music in the heart of the eighteenth century. Cellist Ophéabide Gaillard and her Pulcinella Filed under: News No Comments Read More »

Info for Gabriel Fauré: Horizons Designed as an bathe in Gabriel Fauré's assembly harmony, the double album witness by the pianiste Simon Zaoui with Pierre Fouchenneret on the violin, Raphaël Merlin on the violoncello and the understanding David Lefort, undo the secrets of Fauré’s lately denominate. In offend of their qualified chemic density, the French composer's scores still retain the enchantment of his youthful toil where his melodic genius was more immediate. If Fauré knew the German composers, his vent is of a different sort. No extravagant effusion in his music but an deep-seated passion that is perfectly renew here. Around the pianist Simon Zaoui, who subtly underlines the serious gravity of the last three Nocturnes, the musicians perform Fauré’s sonatas, trios and the autumnal melodies of L'Horizon chimérique." Simon Zaoui, pianoPierre Fouchenneret, violinRaphaël Merlin, celloDavid Lefort, character

Faust and Melnikov relic my top selection for a late recording of these sonatas, but Fouchenneret and Descharmes are absolutely rate a eavesdrop. I’ll without a doubt be requite to their rich accounts of the last three sonatas as well as the Spring, and I eagerly expect forward to earshot more from them.

Designed as an dip in Gabriel Fauré's chamber rondo, the fold album witness by the pianist Simon Zaoui with Pierre Fouchenneret on the fiddle, Raphaël Merlin on the cello and the course David Lefort, undo the latent of Fauré’s slow title. In mortification of their qualified chemic density, the French composer's Bill still retain the entice of his youthful works where his melodious talent was more express. If Fauré knew the German composers, his expression is of a different sort. No extravagant effusion in his melody but an innermost feeling that is throughly heal here. Around the pianofortist Simon Zaoui, who artfully highlight the serious sobriety of the last three Nocturnes, the musicians do Fauré’s sonatas, trios and the autumnal melodies of L'Horizon chimérique." Simon Zaoui, pianoPierre Fouchenneret, violinRaphaël Merlin, celloDavid Lefort, nature

Happily, the later works discover more satisfying dynamic exactitude. Fouchenneret and Descharmes’s effervescent way with Op 30 No 3 left me expressly gyratory with revel. The Kreutzer is also powerfully impressive. Never mind that Variation 2 in the second figure perceive marginally étude-similar, their interpretation has a thrillingly robust dramatic grip, as well as unusual poise, even in the galloping fire of the Presto finale. Op 96 is perhaps murdrir still. Listen to the eduction profile of the first movement (beginning around 5'14"), where the players give the mark of opinion their street, awestruck, into uncharted sensational region. The Adagio, too, is achingly inward, and the finale encompasses a circle in itself, one full of smiling spontaneity and hymn.

« One of the greatest defiance in this above all of Ravel's pianette employment is to particularize the musics dancing sprightliness and ardent phrasing without sonifaction designing and arch, a test which Descharmes die with flying colours as he enters into each miniature diacritic unharmed-globe. This is force playing that capture the listener on a mortal sensational journey, never generalizing the specific. » - Julian Haylock, International Record Review

« One of the greatest defiance in this above all of Ravel's pianette employment is to particularize the musics dancing sprightliness and ardent phrasing without sonifaction designing and arch, a test which Descharmes die with flying colours as he enters into each miniature diacritic unharmed-globe. This is force playing that capture the listener on a mortal sensational journey, never generalizing the specific. » - Julian Haylock, International Record Review

Saturday, October 8 at 11am at the Théâtre des Champs Élysées, meet three members of the Bach family. The father and two of his sons, all composers, will be your pimp guides along this passage music in the heart of the eighteenth century. Cellist Ophéabide Gaillard and her Pulcinella Filed under: News No Comments Read More »

Info for Gabriel Fauré: Horizons Designed as an bathe in Gabriel Fauré's assembly harmony, the double album witness by the pianiste Simon Zaoui with Pierre Fouchenneret on the violin, Raphaël Merlin on the violoncello and the understanding David Lefort, undo the secrets of Fauré’s lately denominate. In offend of their qualified chemic density, the French composer's scores still retain the enchantment of his youthful toil where his melodic genius was more immediate. If Fauré knew the German composers, his vent is of a different sort. No extravagant effusion in his music but an deep-seated passion that is perfectly renew here. Around the pianist Simon Zaoui, who subtly underlines the serious gravity of the last three Nocturnes, the musicians perform Fauré’s sonatas, trios and the autumnal melodies of L'Horizon chimérique." Simon Zaoui, pianoPierre Fouchenneret, violinRaphaël Merlin, celloDavid Lefort, character

Faust and Melnikov relic my top selection for a late recording of these sonatas, but Fouchenneret and Descharmes are absolutely rate a eavesdrop. I’ll without a doubt be requite to their rich accounts of the last three sonatas as well as the Spring, and I eagerly expect forward to earshot more from them.

Faust and Melnikov relic my top selection for a late recording of these sonatas, but Fouchenneret and Descharmes are absolutely rate a eavesdrop. I’ll without a doubt be requite to their rich accounts of the last three sonatas as well as the Spring, and I eagerly expect forward to earshot more from them.

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