Art Landenguyen Le

‘Well, what a surprise – a divine surprise! I have delighted in immersing myself in the world of Handel for more than forty years now. But I must admit that I experienced yet another lesson in strength and joy when I toured and recorded the Dettingen Te Deum and the Coronation Anthems ’, says Hervé Niquet. As a lover of large orchestral formations, he has assembled a number of instrumentalists and singers close to the (gigantic) forces used at the premiere, with a large band of oboes, bassoons and trumpets, and assigned the solo arias to the entire ‘chapel’. Niquet speaks of ‘the glittering power of this ceremonial music concocted by a Handel conscious of placing the best of his genius at the service of the crown and of history’, and he in turn invests all his enthusiasm and expressiveness in these works combining ‘grace and strength’. Fans of Champions League football will recognise in Zadok the Priest the theme of that competition’s anthem!

Half Baroque, half contemporary, half French, half British: that is the challenge taken up here by Franck-Emmanuel Comte and Le Concert de L'Hostel Dieu. This recording presents in the same program pieces by Lully and by Purcell, together with contemporary creations by the Frenchman David Chalmin, inspired by Purcell, and by the British composer Martyn Harry, inspired by Lully. Both contemporary composers combine the sounds of Baroque instruments with their own expression, thus removing borders and engaging in a dialogue involving different periods and different languages. Axelle Verner lends her mezzo voice and unique personality to the vocal pieces in this program.

After Haydn, Beethoven and Schubert, Jordi Savall continues his journey into the 19th century with the Italian Symphony of Felix Mendelssohn, a composer he records for the first time. He delivers 2 versions of the work: the one which was performed at the wolrdwide premiere in 1833 and the revised one from 1834. The most conspicuous changes are to be found in the last tree movements. The comparison of the two scores and the performance on period instruments take us as close to Mendelssohn's work and original intention as we will ever get. Thanks to Jordi Savall's insightful conducting, there is still something to discover in Mendelssohn's most famous symphony.

At the time of civilisation collapse, only the bold pave the way. Back to basics. Let us give CHROMB! a certain sense of responsibility: through this fourth album, entitled Le Livre des Merveilles, the quartet appears in a new light. Washed of their sins.

Parlophone Records is sharing a previously unreleased David Bowie live album called Ouvrez Le Chien (Live Dallas 95). The album was recorded at Dallas, Texas’ Coca-Cola Starplex Amphitheatre in October 1995 while Bowie was on his Outside Tour with Nine Inch Nails.

Zëss had long been plagued by its incompleteness and its recording was deferred for years. Four decades after its first draft, the work has finally been recorded in an orchestral version that gives it both its true dreamlike dimension and its transcending power. For Zëss is above all the visionary reflection of an immemorial dream haunting the most obscure part of our souls. Zëss treads a line between a vital overflowing and the edges of the unlivable. It is an incandescent and heady oratorio where consciousness questions its other side in a measureless journey. Zëss indicates the ultimate reversal out of which bursts a beyond of music that only music can reach. Magma’s whole story condensed…

Parmi les œuvres emblématiques de Versailles, les Symphonies pour les Soupers du Roi figurent au premier plan. Musiques d’un Palais convoquant un monde de passions, de caractères, d’intrigues, d’échos de batailles… ennobli par le faste des trompettes et des hautbois, elles résonnent jusqu’à nos jours comme les musiques du Plus Grand Roi du Monde. Certes, ce sont des « Musiques de Table » comme on en trouve ailleurs en Europe (le Banchetto Musicale de Schein en 1617, la Tafelmusik de Telemann en 1733), mais quel Prince peut aligner pour ce faire les 24 Violons du Roi, et les vents de sa royale Ecurie ? Avec le luxe d’un orchestre d’Opéra, voici Louis XIV mangeant en public chaque jour, un moment essentiel de la journée.

This interpretation is a perfect match to Savall's equally beautiful Art of the Fugue. Here you find even more variety in the blend of instruments. I am not going to have only one version of this music and my first recommendation is Münchinger's more emotional recording on Decca. When it comes to colourful instrumentation, however, Savall is the winner, and the direction & playing needs no justification, it is simply wonderful, even if I doubt this folk music style reflects the spirit of the baroque era.