Koechlin: The Seven Stars' Symphony, Op. 132 & Vers la voûte étoilée, Op. 129 Sinfonieorchester Basel & Ariane Matiakh

• Charles Koechlin (1867 - 1950): The Seven Stars' Symphony, Op. 132:
• 1 Koechlin: The Seven Stars' Symphony, Op. 132: I. Douglas Fairbanks 06:12
• 2 Koechlin: The Seven Stars' Symphony, Op. 132: II. Lilian Harvey 02:17
• 3 Koechlin: The Seven Stars' Symphony, Op. 132: III. Greta Garbo 04:14
• 4 Koechlin: The Seven Stars' Symphony, Op. 132: IV. Clara Bow 06:10
• 5 Koechlin: The Seven Stars' Symphony, Op. 132: V. Merlène Dietrich 04:48
• 6 Koechlin: The Seven Stars' Symphony, Op. 132: VI. Emil Jannings 04:30
• 7 Koechlin: The Seven Stars' Symphony, Op. 132: VII. Charlie Chaplin 15:08
• Vers la voûte étoilée, Op. 129:
• 8 Koechlin: Vers la voûte étoilée, Op. 129 13:05
• Total Runtime 56:24

Info for Koechlin: The Seven Stars' Symphony, Op. 132 & Vers la voûte étoilée, Op. 129

Music by the marvelous, criminally underrated composer and “Aural Alchemist” Charles Koechlin is always a discovery and invariably. “Koechlin can daub with notes as Seurat daubed with bright pigments on canvas [he] could, whenever he wished, bathe his music in the impressionist glories of Debussy and Ravel or give it the delicacy of Fauré and then toughen it up with some Roussel-like grinding rhythms.” (Robert Reilly) He is an impressionist dreamboat. With a title like The Seven Stars Symphony and following so closely on the heels of the equally enchanting Vers la voûte étoilée (Toward the Vault of the Stars), you’d think the work was some spectacular colorist bonanza of celestial ambitions. Actually, it’s Koechlin’s ode to his favorite film stars – but no less bewitching for that.

Sinfonieorchester Basel
Ariane Matiakh, conductor

Ariane Matiakh
Versatility, musicality and technical precision, and above all a natural and passionate approach are trademark features of French conductor Ariane Matiakh. The daughter of two opera singers, she grew up in an exceptionally musical environment and learnt to play the piano at an early age. Later, she studied orchestral conducting in Vienna, where she also sang in the renowned Arnold Schoenberg Choir under conductors including Nikolaus Harnoncourt and Adam Fischer. Particularly formative experiences during her comprehensive training include the time she spent studying with Leopold Hager and Seiji Ozawa.

Her first appointment conducting in an opera house was at the Opéra et Orchestre de Montpellier, where she worked closely together with James Conlon, Armin Jordan, Emmanuel Krivine and Alain Altinoglu, among others. Subsequent engagements brought her to the Komische Oper Berlin, the Royal Swedish Opera in Stockholm, and to Amsterdam, Gothenburg, Graz, Nice, Strasbourg and Halle. In 2022, she will be part of the jury of the prestigious French “Victoires de la musique”.

Today, Ariane Matiakh’s repertoire covers opera and ballet, a wide variety of symphonic works, contemporary compositions and baroque music. She often appears as guest conductor with leading ensembles such as the Berlin Radio Symphony Orchestra, the Wiener Symphoniker, The ORF Radio-Symphonieorchester Wien, the Orchestre de Paris, the Philharmonisches Staatsorchester Hamburg, the Swedish Radio Symphony Orchestra, the Dresden Philharmonic, the WDR and MDR Symphony Orchestras, the Orchestre du Capitole de Toulouse and the Orchestre Philharmonique de Strasbourg. At the Royal Opera House in London she guested in a production of “La Bohème”.

In the 2020/21 season, she made her debuts with orchestras including the Deutsches Symphonie-Orchester Berlin, the Sinfonieorchester Basel as well as - with Dusapin’s „Penthésilea“ – with the Orchestre de Paris. A reinvitation brings her back to the Opéra du Rhin in Straßburg with a new production of „Samson et Dalila“.

In the 2021/22 season, she makes her debuts with the Bamberger Symphoniker, the Frankfurt Radio Symphony, at the Opéra Comique in Paris with the Orchestre Philharmonique de Radio France for a creation of Philippe Hersant, and at the Norwegian National Opera and Ballet in Oslo.

Ariane Matiakh’s versatility and the joy she experiences when making musical discoveries is also reflected in her discography. For the Capriccio label, she recorded the works of Johanna Doderer as well as a CD with music by Francis Poulenc and Jean Françaix; in 2018, she received a Grammy nomination for her Capriccio recording of both piano concertos by Zara Levina with the Berlin Radio Symphony Orchestra. As part of a further collaboration with the Berlin Radio Symphony Orchestra, she recorded works by Harald Genzmer, Ermanno Wolf-Ferrari and Richard Strauss. Berlin Classic released a recording with piano concertos by Clara Schumann and Ludwig van Beethoven, performed by Ragna Schirmer and the Staatskapelle Halle.

In 2019 she devotes two recordings to the music of Ernst von Dohnànyi and in 2020 records a CD dedicated to Max Bruch with the Staatskapelle Halle.

In recognition of her achievements in French musical life and representing French culture abroad, Ariane Matiakh was awarded the “Chevalier de l’Ordre des Arts et des Lettres” by the French ministry of culture in 2014.

Booklet for Koechlin: The Seven Stars' Symphony, Op. 132 & Vers la voûte étoilée, Op. 129