Alcione

Marais's Alcione is the last great 'tragedy' in music from the reign of Louis XIV. It is a total spectacle at the crossroads of the 17th and 18th centuries, from which it takes the mythological source, it's praise of the sovereign's glory and the literary requirement to combine choreography and stage movements. Jordi Savall rediscovered this work and brought it back to life for the first stage production in Paris since 1771.

Alcione's first performance took place at the Theatre du Palais Royal in Paris on February 18, 1706. Alongside Semele, it is the only opera composed by Marin Marais. Shortly after the premiere, Marais gathered together the most beautiful tunes, including the famous Tempest, and composed four instrumental suites. Le Concert des Nations and Jordi Savall revel in the rich colors of these vivid scores. Originally released on the Astree label, Alia Vox has reissued this superb recording as part of its Heritage series. In addition to deluxe packaging and a richly documented booklet, the release has been remastered and now features state-of-the-art multichannel audio.

Marin Marais (1656-1728)est ajourd'hui célèbre grâce au fabuleux corpus de pièces pour violes de gambe qu'il nous a laissé et qui ont été remises à l'honneur avec le célèbre film "Tous les matins du monde" et les disques de Jordi Savall Mais Marais a aussi écrit 4 opéras dont Alcione, le meilleur d'entre eux.
Avant son enregistrement, celui-ci avait la réputation d'être digne des chefs-d'oeuvre de Lully et annonciateur des splendeurs ramistes, mais pour certains figé dans les règles passéistes du grand style français et refusant malencontreusement les harmonies italianisantes chères à Campra et Charpentier.

Between 1680 and 1728, Marin Marais brought the pièce de viole to the peak of perfection. An unremitting’ teacher, he was also the publisher of his own music and invented special signs to notate certain ornaments for the viol. In the course of his research at the Salzburg Mozarteum, the Italian gambist Vittorio Ghielmi studied these manuscript codes, in the hand of Marais himself or his direct students. ‘This led me to a new vision of French Baroque music, which applies not only to the viola da gamba, but also to vocal and orchestral music. These signs reveal the technique of playing in action. Contrary to the static descriptions of the treatises of the time, one has the impression of seeing didactic “videos”.’

Building on their decade-long commitment to performing and recording Scandinavian baroque and folk music, The Marais Project is proud to announce a new collaboration with leading Swedish artists, Duo Langborn/Wendel with a Sydney and regional NSW tour in February 2023.

Building on their decade-long commitment to performing and recording Scandinavian baroque and folk music, The Marais Project is proud to announce a new collaboration with leading Swedish artists, Duo Langborn/Wendel with a Sydney and regional NSW tour in February 2023.

O título foi originado da canção homônima do cantor brasileiro Djavan. Foi o primeiro disco de uma cantora brasileira a ultrapassar a marca de 1 milhão de cópias vendidas. Considerado um dos melhores discos da carreira da cantora, o disco coleciona sucessos, como "Sonho Meu", com participação da também baiana Gal Costa, "O Meu Amor", em dueto com Alcione, "Ronda", de Paulo Vanzolini, e "Explode Coração (Não Dá Mais Pra Segurar)" (autoria de Gonzaguinha), um dos maiores, ou talvez o maior sucesso da cantora.

Jordi Savall & Le Concert des Nations - Les Éléments: Tempêtes, Orages & Fêtes Marines 1674 - 1764 (2016) {2CD Alia Vox AVSA9914}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 606 Mb | MP3 @320 -> 257 Mb
Full Artwork @ 300 dpi (jpg) -> 173 Mb | 5% repair rar
© 2016 Alia Vox | AVSA9914
Classical / Baroque / Orchestral

This double album is an invitation to explore the forces of nature, so vividly depicted by the composers at the turn of the XVIIth and XVIIIth centuries. With this stunning (and first) recording of Jean-Fery Rebel’s Les Elements, Jordi Savall displays his unmatched vision of the baroque orchestral repertoire, proving that authenticity and timbral beauty aren’t mutually exclusive. New recordings of works by Locke, Vivaldi, Marais, Telemann and Rameau - a splendidly varied and expressively wide-ranging selection - is a welcome addition to the existing landmark recordings made by Savall in this repertoire.