For those not in the know,Folklore takes the listener on a musical journey throughout 19th and 20th century France, Georgia, Hungary and Spain.

Through different styles and soundscapes, the compositions are united by the spirit of folk traditions and national character, as well as personal memories of the performers – Swiss-French cellist Christoph Croisé and Georgian pianist Ana Bakradze.

Works originally conceived for their instrumental combination sit alongside transcriptions that fit their sound world like a glove, a testament to the popularity of all the music on this album.

MANUEL DE FALLA (1876–1946)
Suite populaire espagnole
after 7 Canciones populares españolas
(adapted Paul Kochanski; transcribed for cello and piano by Maurice Maréchal)
1. No. 1 El pano moruno (2:22)
2. No. 2 Nana (2:18)
3. No. 3 Canción (1:34)
4. No. 4 Polo (1:21)
5. No. 5 Asturiana (2:40)
6. No. 6 Jota (3:36)BÉLA BARTÓK (1881–1945)
Romanian Folk Dances Sz. 56
7. I. Jocul cu bâtă (1:29)
8. II. Brâul (0:32)
9. III. Pe loc (1:07)
10. IV. Bubiumeana (1:03)
11. V. Poarga românească (0:30)
12. VI. Mărunţel (1:00)

SULKHAN TSINTSADZE (1925–1991)
5 Pieces on Georgian Folk Themes
13. I. Urmuli (5:25)
14. II. Chonguri (1:13)
15. III. Sachida (2:24)
16. IV. Nana (3:28)
17. V. Tsekva (2:05)

NADIA BOULANGER (1887–1979)
3 Pièces pour violoncelle et piano
18. No. 1 Modéré (2:58)
19. No. 2 Sans vitesse et à l’aise (1:37)
20. No. 3 Vite et nerveusement rythmé (2:37)

ROBERT SCHUMANN (1810–1856)
5 Stücke im Volkston Op. 102
21. I. Vanitas vanitatum: Mit Humor (3:18)
22. II. Langsam (3:26)
23. III. Nicht schnell, mit viel Ton zu spielen (4:32)
24. IV. Nicht zu rasch (2:17)
25. V. Stark und markiert (3:00)

PABLO DE SARASATE (1844–1908)
26. Zigeunerweisen Op. 20 (8:19)

GABRIEL FAURÉ (1845–1924)
27. Après un rêve Op. 7 No. 1 (3:29)
28. Sicilienne Op. 78 (5:59)

First, we get brought forth FALLA’s Suite populaire espagnole, which opens on the sheer elegance of El pano moruno and the dulcet Nana and then comes the softly emoted Canción, the veritably ethereal Polo, the set rounding out on the cultured Asturiana and the dignified Jota.

Along next is BARTÓK’s Romanian Folk Dances Sz. 56, and which we first get gifted the sumptious Jocul cu bâtă and the gently spirited Brâul, before the playful Pe loc, the tasteful Bubiumeana, the upbeat and perky Poarga românească and the robust Mărunţel are upon us.

Then comes TSINTSADZE’s 5 Pieces on Georgian Folk Themes, which opens with the aching yearn felt within Urmuli and the trepidatiously dutiful Chonguri, with the enthusiastic Sachida, the quietly toned Nana and the fervent Tsekva rounding things out.

The comes BOULANGER’s Pièces pour violoncelle et piano, which begins on the gently pleasing Modéré, the regal Sans vitesse et à l’aise and the all-embracing Vite et nerveusement rythmé closes the set. We are then brought forth SCHUMANN’s 5 Stücke im Volkston Op. 102, which open on the pensively confident Vanitas vanitatum: Mit Humor and the demurely elegant Langsam, before gifting us the impassioned Nicht schnell, mit viel Ton zu spielen, the melodious Nicht zu rasch and, finally, the evocative Stark und markiert.

Bringing this masterful set to a close is the nine minute SARASATE piece Zigeunerweisen Op. 20, which is both resplendent and authentically emotive throughout; and then we get FAURÉ’s opulent Après un rêve Op. 7 No. 1 and his refined work Sicilienne Op. 78.

Official Purchase Link

www.christophcroise.com

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