Composer, poet and folk fiddler, Wiljami Niittykoski (1895–1985) came from the Kaustinen village of Salonkylä in Western Finland, a region renowned for its lively folk music tradition. With the Kaustinen Folk Music Festival first held in the 1960s and the new folk music era he came to be an artist famous and popular the length and breadth of Finland. As a young man, he initially made a living as a joiner, then by tending the farm hacked out of the wilds by his parents where he spent his whole long life.

I do not intend to evaluate the music of Johann Sebastian Bach in any form here. The basic situation for me in this respect is very simple: I have not been able to identify with any intellectual argumentation or analysis, for I have always had a feeling of incompleteness. No superlative seems sufficient to me. Regarding the tunes of Bach, the saying that music begins where the word ends is the truest one for me.

This recording marks the beginning of the collaboration between the Frankfurt Radio Symphony Orchestra and its new music director, the French conductor Alain Altinoglu, who conducts the leading European and American orchestras and has made a reputation for himself in every repertory – not forgetting opera at Salzburg, Bayreuth, and La Monnaie in Brussels, where he is music director. Their first disc pays tribute to a composer whose bicentenary is celebrated in 2022, César Franck, with the famous Symphony in D minor and two less well-known works, presented in new editions: the symphonic poem Le Chasseur maudit (1882) and the large-scale symphonic interlude from the oratorio Rédemption, composed in 1872 after the Paris Commune, performed here in its first version, long considered lost.

How to read Ronsard today? Simply aloud or in singing it, like back then. Because, for Ronsard, nothing is more obvious than to unite music and poetry: “I also want you to encourage you to pronounce your verses loudly in your room, when you do them, or sooner sing them, whatever voice can have. » Ronsard, Abbrégé de l’Art poétique françois, 1565 As soon as the collection of Loves was published, it was fashionable for a composer to set these poems to music. To quote the most famous: Goudimel, Certon, and of course Janequin. But long after death of the poet, many composers have continued to do so: Bizet, Saint-Saëns, Ravel, Poulenc… It is because Ronsard’s texts have no no age; Pick the roses of life today is a principle immortal. Julien Joubert reads poetry every day, aloud and even the most often while singing. It was therefore only natural that he lean on the work by Ronsard.