September 22 street date. On this recording are assembled three giants, two of whom, particularly precocious, were compared to Mozart in their day: André Mathieu and Mendelssohn along with Shostakovich. As well, a reunion of great performers: Alain Lefèvre, violinist David Lefèvre and trumpeter Paul Archibald joined by the London Mozart Players led by Matthias Bamert. Recorded in London in winter of 2009, this album will delight the connoisseurs with never and rarely recorded works.
November 3 street date. Alain Lefèvre’s recording career as a composer has become more and more important in recent years. "Jardin d’images", his fourth CD featuring his own compositions, is a much-awaited opus after his "Blissfully Sleepless". His compositions, much like snapshots of life, are tonal and their pianistic writing, "absolutely gorgeous and musically sophisticated" - Times Argus. With the participation of bassist Michel Donato aand drummer Paul Brochu.
April 20 street date. Very early on, André Mathieu conquered his circle and roused his audiences. Worshiped, hailed, praised, this child prodigy seemed to have everything to succeed. From the vertiginous spheres of success to the very depths of his torments, the life of the "Canadian Mozart" became one with his music. Analekta presents the original soundtrack of this movie scripted and directed by Luc Dionne, starring Patrick Drolet. Music by André Mathieu and Alain Lefèvre, performed by Alain Lefèvre. Dès son plus jeune âge, André Mathieu a conquis son entourage comme son auditoire et a enflammé les salles. Adulé, acclamé, encensé, cet enfant prodige semblait avoir tout pour réussir. Du haut des sphères vertigineuses du succès, aux tréfonds des tourments, la vie du « Mozart canadien » se fond dans sa musique. Analekta présente la trame musicale originale de ce film scénarisé et réalisé par Luc Dionne, mettant en vedette Patrick Drolet. Musique d’André Mathieu et Alain Lefèvre, interprété par Alain Lefèvre.
February 1 street date. "Concert", a dense and virtuosic work, representative of Chausson’s writing, was premiered in Brussels in 1892. The visibly spellbound audience received it triumphantly. Mathieu’s last masterwork was his piano quintet. Although it was completed on May 12, 1953, it was not premiered until May 28, 1956 on Radio-Canada’s radio program "Présences". The work is spangled with remarkable technical difficulties.
November 8 street date. Celebrate the Holidays in the company of Alain Lefèvre and Philippe Dunnigan’s string quartet through original arrangements of some favourite Christmas highlights and new compositions by Alain Lefèvre.
Available now. The Montreal pianist and composer Alain Lefèvre pursues a sparkling international career. He has performed in more than forty countries and tours repeatedly world-wide, performing to prestigious venues, in recital and with international orchestras. Mastering the language of each of these 24 preludes requires a sustained effort and great attention from the performer. It is a challenge to which Alain Lefèvre rose brilliantly. 24 preludes, one for each of the major and minor keys in the tonal system, composed by François Dompierre, drawing inspiration from jazz, pop music, and the broad repertoire of French piano music; it is both all of that and none of it.
April 12 street date. French-born Canadian pianist and composer Alain Lefèvre makes his Warner Classics debut with My Paris Years. The album brings together a collection of classic piano pieces written by some of the most beloved French composers: Claude Debussy, Maurice Ravel, Erik Satie, and César Franck. My Paris Years is, in essence, a hymn to the city where Lefèvre spent some of his most precious years of learning. From the rolling waters of the Seine to its calm banks above, from the subdued mood of the streets to their sometimes intense flurries of movement – every piece plays its part in depicting the scene that is Paris and recreating the multifaceted spirit of this city in music.
March 20 street date. In Moscow, in the years before World War I and the Russian revolution, there were two opposing, and apparently irreconcilable, musical factions. Rachmaninov was given the title of pianist of the bourgeoisie, while leftist students and theosophical movements championed Scriabin. The former was considered the successor to Tchaikovsky, the latter, too avant-gardist. Fortunately, these squabbles in no way affected the friendship between the two composers. Each in his own way, these two artists rejected the dictums of romanticism and embraced modernity, and this recording serves as a sort of bridge between them. Its two colossal works place orchestra, conductor and soloist on equal footings; and both require a meticulous reading of the score, a thorough understanding of its architecture, and flawless rhythmic precision: the original version of Rachmaninov’s Piano Concerto No. 4 and Scriabin’s Prometheus: The Poem of Fire.