Passionate about travel, Saint-Saëns was strongly influenced by the cultural diversity he encountered in North Africa. Zahia Ziouani, as one immersed in these twin cultures herself, is able to shed new light on the composer’s travel-inspired works by reflecting them through the prism of the Algerian musical styles of Francisco Salvador-Daniel and Idir, as well as performing in the company of Rachid Brahim-Djelloul, Fettouma Ziouani and guest soloists. A fascinating musical dialogue!
CAMILLE SAINT-SAËNS (1835-1921)
Parysatis
· Introduction et Air de ballet n°1 (02’42)
· Air de ballet no2 (03’33)
· Air de ballet no3 (01’54)IDIR (1945-2020)
· A vava Inouva, pour chant, violoncelle et harpe (paroles de Mohamed Benhamadouche – transcription Smail Benhouhou et Antonin Mège) (04’58)CAMILLE SAINT-SAËNS
· Tarentelle, pour flûte, clarinette et orchestre, op. 6 (06’41)
RACHID BRAHIM-DJELLOUL (né en 1964)
· Introduction à la Jota aragonese sur le poème Dhebyou Essahara de l’émir Abdel Kader (03’22)CAMILLE SAINT-SAËNS
· Jota aragonese, op. 64 (03’44)IMPROVISATION
· Istikhbar Mezmoum – Introduction à Mon cœur s’ouvre à ta voix, pour violon et violoncelle (01’34)CAMILLE SAINT-SAËNS
Samson & Dalila
· Mon cœur s’ouvre à ta voix, pour violoncelle et orchestre (arr. Antonin Mège et Fettouma Ziouani) (05’53)
· Danse Bacchanale (06’52)
Suite Algérienne en do majeur, op. 60
· I. En vue d’Alger (04’06)IMPROVISATION
· Istikhbar Zidane – Introduction à Inqileb : Yabadi el Hosn (02’54)
· Inqileb : Yabadi el Hosn (arr. Smail Benhouhou et Rachid Brahim-Djelloul) (03’28)CAMILLE SAINT-SAËNS
Suite Algérienne en do majeur, op. 60
· II. Rhapsodie mauresque (05’20)IMPROVISATION
· Introduction à Leyla (01’17)
· Leyla (arr. Smaïl Benhouhou, d’après un poème d’Ahmed El Alaoui ) (04’54)CAMILLE SAINT-SAËNS
Suite Algérienne en do majeur, op. 60
· III. Rêverie du soir (05’09)IMPROVISATION
· Introduction à Chanson mauresque de Tunis (01’15)FRANCISCO SALVADOR-DANIEL (1831-1871)
· Chanson mauresque de Tunis (arr. Smail Benhouhou et Rachid Brahim-Djelloul) (02’57)
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