As the long months of the Great War wore on, society clung to its former codes, to habits belonging to prewar times. Many composers, whether far removed from the conflict like Elgar or wallowing in the mud of the trenches like Philippe Gaubert, were convinced that the sonata, which for over a century had been playing on the salons’ heartstrings, was not about to die. If the Elgar sonata is well-known, the works of Philippe Gaubert and all the more those of Blair Fairchild, unfairly forgotten, deserve a revival.
Promotional video of "Romance de Guerre"
"Romance de Guerre" is part of Ferruccio Nuzzo's selection of the month! (08/2018).
"Superb Interpretations" - Thierry Vagne (Classical Music & Co, France).
"Ambroise Aubrun [...] offers a luminous sound and a style brilliantly marrying [this repertoire], and the Belgian pianist Steven Vanhauwaert, [...] has a nervous and precise style that stands out." Jean-Pierre Robert (ON-MAG, France).
"These [appealing] sonatas and the short piece 'Prunella' by Benjamin Dale are played expressively by French violinist Ambroise Aubrun and Belgian pianist Steven Vanhauwaert guided by a strong instinct for the works’ subtle individualities. [...] With his creative imagination, Aubrun always stays in active dialogue with the rhetoric musicianship of the pianist." Franck (Pizzicato, Luxembourg).
"This is an excellent recital disc. Ambroise Aubrun and Steven Vanhauwaert give highly skilled, persuasive and committed performances of these works. Their programme is enterprising and the less familiar sonatas by Gaubert and Fairchild prove to be well worth investigation." John Quinn (Music-Web International, United Kingdom).
"The beauty and the programmatic depth of these compositions are further enhanced by the brilliant performance of the two young performers, the French violinist Ambroise Aubrun and the Belgian pianist Steven Vanhauwaert. As the first manages to find with his instrument the temperaments, the shadows and the lights expressed by these pages, giving back positive tension, drama, as streams of hope and soothing light with a truly remarkable performing tone, making it clear to be perfectly integrated into the ideal interpretative dimension, the second is a passionate and present interlocutor, artisan of a pianism that knows how to stand up, dialoguing and confronting openly, without being succubus of the other, demonstrating mastery and a "theatrical" sense of the instrument." Andrea Bedetti (MusicVoice, Italy).