Paroles de violoncelle

Gramola: GRAM99007

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Paroles de violoncelle



Catalogue No:




Release date:

4th Nov 2013




69 minutes


CD (download also available)
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Paroles de violoncelle

French Cello Solo Works after 1945


Monologue pour violoncelle


Trois strophes sur le nom de Sacher


Paduana for Solo Cello


Étude-caprice pour un tombeau de Chopin, for cello solo



Suite en concert (1965) for solo cello


Cello sonata

Christophe Pantillon (cello)



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‘More than a return to the roots, French Neo-Classicism represents an affec- tionate and critical look at the past, a mischievous smile, roguish consent, irony without any malice.’ These are the words the Swiss cellist Christophe Pantillon uses to describe the connecting character of the otherwise strongly contrasting works written after 1945 on his new solo CD. Starting with the Pa- duana by Arthur Honegger of 1945, the chronological arch stretches over the Étude-Caprice pour un „Tombeau de Chopin“(1949) and the Ghirlarzana (1950) von Jacques Ibert, the Sonate pour violoncelle by Henri Sauguet (1956) and the Suite en Concert by the more progressive André Jolivet (1965) to Henri Dutilleux’s 3 Strophes sur le nom de SACHER (1976-1982) and finally to a composition of 2011 by David Chaillou, Seul - Monologue pour violoncelle

Arthur Honegger: Paduana


Jacques Ibert: Etude-caprice pour un tombeau de Chopin

Etude-caprice pour un tombeau de Chopin

Jacques Ibert: Ghirlarzana


Henri Sauguet: Cello Sonata

I. Allegro agitato

II. Andante lento e espressivo

III. Allegretto scherzando con spirito e risoluto

Andre Jolivet: Suite en concert

I. Improvisation

II. Ballade

III. Air

IV. Serenade

V. Sonate

Henri Dutilleux: 3 Strophes sur le nom de Sacher

No. 1. Un poco indeciso

No. 2. Andante sostenuto

No. 3. Vivace

David Chaillou: Seul


Gramophone Magazine

April 2014

“the disc shows how limited the cello repertoire had been until [1945]...All this is given imeccable attention by Pantillon, whose smoothness of line and lyrical accuracy of tuning allow the music to venture in whatever direction is necessary. He doesn't try to control the music but presents each piece as a free-standing example in its own right.”

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