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Jean-Marc Luisada|Au cinéma ce soir

Au cinéma ce soir

Jean-Marc Luisada

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Jean-Marc Luisada is a passionate man. Cinema captivates him as much as music and his latest recording allows him to bring together the two worlds that are close to his heart. By taking the name of a famous French television programme by Armand Panigel as the title of his new album (Au Cinéma ce soir), the pianist invites us to share in his love of cinema, inflected with a good dose of nostalgia from the memory of his parents’ love. It would appear that the record is entirely dedicated to their memory.


The fourteen films, chosen here by Jean-Marc Luisada for the publisher-bibliophile La Dolce Volta, span a period from 1958 (Les Amants by Louis Malle) to 1979 (Manhattan by Woody Allen). So many films, and so much music remaining true to the images. But what a choice for such a refined and informed film buff! Fellini’s La Dolce Vita rubs shoulders with Death in Venice by Luchino Visconti, undoubtedly one of the most beautiful films in the history of cinema, in which the adagietto from Mahler's Fifth Symphony (transcribed for the piano by Alexandre Tharaud) is the recurring theme of Gustav von Aschenbach's impossible quest in the alleys of Venice (which serve to illustrate August von Platen’s poetic verses): "Anyone who has ever contemplated Beauty with his eyes is already doomed to death".


Amongst all these films, there is one that has a particular flavour; the disturbing Rendez-vous à Bray that André Delvaux shot in 1971, based on a short story by Julien Gracq. The music of the last piano opuses by Brahms turns the soul inside out like a glove, asking essential questions about absence, silence, and the confusion of feelings. The films evoked in this beautiful album seem to have rubbed off on Jean-Marc Luisada’s interpretations of Nino Rota, Mahler, Mozart (the moving Fantasy in D minor), Brahms, Wagner, and Chopin (who closes the programme with Cris and Chuchotements, the Ingmar Bergman film which ruthlessly examines the difficulty of human relationships). Of course, let’s not forget the dazzling smiles of Scott Joplin and George Gershwin, for whom Luisada gives an exuberant rendition of Rhapsody in Blue. © François Hudry/Qobuz

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Au cinéma ce soir

Jean-Marc Luisada

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1
La Dolce Vita (Federico Fellini, 1960): Main theme
00:01:49

Jean-Marc Luisada, Piano, MainArtist - Nino Rota, Composer

2023 La Dolce Volta 2022 La Prima Volta

2
Death in Venice, Symphony No. 5 (Luchino Visconti, 1971): Adagietto (Arr. for Piano by Alexandre Tharaud)
00:10:24

Jean-Marc Luisada, Piano, MainArtist - Gustav Mahler, Composer - Alexandre Tharaud, Arranger

2023 La Dolce Volta 2022 La Prima Volta

3
The Unforgiven (John Huston, 1960): Fantasy in D Minor K. 397
00:06:14

Jean-Marc Luisada, Piano, MainArtist - Wolfgang Amadeus Mozart, Composer

2023 La Dolce Volta 2022 La Prima Volta

4
The Lovers (Louis Malle, 1958): Theme and variations in D Minor (Arr. by Brahms of the Andante con moderato from his String Sextet Op. 18)
00:11:25

Jean-Marc Luisada, Piano, MainArtist - Johannes Brahms, Composer

2023 La Dolce Volta 2022 La Prima Volta

5
The Sting (George Roy Hill, 1973): Solace
00:03:35

Jean-Marc Luisada, Piano, MainArtist - Scott Joplin, Composer

2023 La Dolce Volta 2022 La Prima Volta

6
Manhattan, Rhapsody in Blue (Woody Allen, 1979): I. Molto moderato
00:10:11

Jean-Marc Luisada, Piano, MainArtist - George Gershwin, Composer

2023 La Dolce Volta 2022 La Prima Volta

7
Manhattan, Rhapsody in Blue (Woody Allen, 1979): II. Andantino moderato
00:03:00

Jean-Marc Luisada, Piano, MainArtist - George Gershwin, Composer

2023 La Dolce Volta 2022 La Prima Volta

8
Manhattan, Rhapsody in Blue (Woody Allen, 1979): III. Agitato e misterioso
00:03:24

Jean-Marc Luisada, Piano, MainArtist - George Gershwin, Composer

2023 La Dolce Volta 2022 La Prima Volta

9
Rendez-vous à Bray, 3 Intermezzi Op. 117 (André Delvaux, 1971): I. Andante moderato
00:04:47

Jean-Marc Luisada, Piano, MainArtist - Johannes Brahms, Composer

2023 La Dolce Volta 2022 La Prima Volta

10
Rendez-vous à Bray, 3 Intermezzi Op. 117 (André Delvaux, 1971): II. Andante non troppo
00:04:42

Jean-Marc Luisada, Piano, MainArtist - Johannes Brahms, Composer

2023 La Dolce Volta 2022 La Prima Volta

11
Rendez-vous à Bray, 3 Intermezzi Op. 117 (André Delvaux, 1971): III. Andante con moto
00:05:56

Jean-Marc Luisada, Piano, MainArtist - Johannes Brahms, Composer

2023 La Dolce Volta 2022 La Prima Volta

12
Casanova, Waltzes on the Name of Bach (Federico Fellini, 1976): No. 1, Circus-Valzer
00:01:49

Jean-Marc Luisada, Piano, MainArtist - Nino Rota, Composer

2023 La Dolce Volta 2022 La Prima Volta

13
Ludwig ou Le Crépuscule des dieux (Luchino Visconti, 1972): Elegie
00:01:41

Jean-Marc Luisada, Piano, MainArtist - Richard Wagner, Composer

2023 La Dolce Volta 2022 La Prima Volta

14
Cries and Whispers (Ingmar Bergman, 1972): Mazurka in A Minor Op. 17 No. 4
00:04:33

Jean-Marc Luisada, Piano, MainArtist - Frederic Chopin, Composer

2023 La Dolce Volta 2022 La Prima Volta

Album review

Jean-Marc Luisada is a passionate man. Cinema captivates him as much as music and his latest recording allows him to bring together the two worlds that are close to his heart. By taking the name of a famous French television programme by Armand Panigel as the title of his new album (Au Cinéma ce soir), the pianist invites us to share in his love of cinema, inflected with a good dose of nostalgia from the memory of his parents’ love. It would appear that the record is entirely dedicated to their memory.


The fourteen films, chosen here by Jean-Marc Luisada for the publisher-bibliophile La Dolce Volta, span a period from 1958 (Les Amants by Louis Malle) to 1979 (Manhattan by Woody Allen). So many films, and so much music remaining true to the images. But what a choice for such a refined and informed film buff! Fellini’s La Dolce Vita rubs shoulders with Death in Venice by Luchino Visconti, undoubtedly one of the most beautiful films in the history of cinema, in which the adagietto from Mahler's Fifth Symphony (transcribed for the piano by Alexandre Tharaud) is the recurring theme of Gustav von Aschenbach's impossible quest in the alleys of Venice (which serve to illustrate August von Platen’s poetic verses): "Anyone who has ever contemplated Beauty with his eyes is already doomed to death".


Amongst all these films, there is one that has a particular flavour; the disturbing Rendez-vous à Bray that André Delvaux shot in 1971, based on a short story by Julien Gracq. The music of the last piano opuses by Brahms turns the soul inside out like a glove, asking essential questions about absence, silence, and the confusion of feelings. The films evoked in this beautiful album seem to have rubbed off on Jean-Marc Luisada’s interpretations of Nino Rota, Mahler, Mozart (the moving Fantasy in D minor), Brahms, Wagner, and Chopin (who closes the programme with Cris and Chuchotements, the Ingmar Bergman film which ruthlessly examines the difficulty of human relationships). Of course, let’s not forget the dazzling smiles of Scott Joplin and George Gershwin, for whom Luisada gives an exuberant rendition of Rhapsody in Blue. © François Hudry/Qobuz

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