Aryan Peste Noire

Renart propose un 1er album conceptuel très abouti dans un registre techno « médiévale » prenant, original et innovant. Composé comme une suite de petites fables, l’album n’est pas focalisé sur un style électronique précis et tente de conter en musique. Entre le mythe de Singifus Pontifex, tyran régnant sans partage sur une exoplanète, et le culte mystérieux de la Noire Vouivre, il réalise ici une véritable odyssée technoïde. Bien que reconnu pour son travail de producteur, c’est sur scène qu’il a fait ses preuves depuis de nombreuses années. Dans les brumes de la nuit, Professeur Renart présente régulièrement avec une énergie singulière ses dernières inventions comme l’Acid Trap, directement inspirée par ses recherches au Schnell Institute.

The Doppler brothers played a dominant role in the K&K Monarchy’s musical life as composers, conductors, musicians and as orchestral soloists. They were on good terms with acknowledged artists of the era, such as Ferenc Liszt, Ferenc Erkel, or Jozsef Bajza. This is the eleventh release in a set of 12 albums comprising the Dopplers' complete music for flute(s), including various arrangements. Flautist Claudi Arimany spent decades researching this project, inspiring many famous musicians to become involved in its realization. Featured on this album alongside Arimany are Janos Balint, Aleksandra Miletic, Sara Blanch, and more.

The album "let it touch you" celebrates the 20th anniversary of the still active jam band "Café Drechsler" from Austria.It is an acoustic adventure, a colourful bouquet of flowers with the scent of a long journey of this extraordinary as well as unique band from Austria. The three protagonists Ulrich Drechsler (saxophone), Oliver Steger (double bass) and Alex Deutsch (drums) are all artists who have been working internationally for decades in various formations as well as with their own individual projects. They seem to move light-footedly and weightlessly between genres with their own stylistic means of jamming and improvisation, without compromising or betraying their "trade mark sound and groove".

Alexandre Tharaud is a French pianist whose repertoire spans composers from Bach to Chopin to Thierry Pécou, a contemporary of Tharaud's. In 2012, he was featured on the soundtrack for the Academy Award-winning film Amour, performing the works of Bach, Beethoven, and Schubert. He also appeared on camera in the film, as himself. Tharaud was born in Paris to performance artists on December 12, 1968. His grandfather was a violinist, his mother taught dance at the Paris Opera, and his father participated in community operettas as a singer, then as a director.

Bryan Ferry, is an English singer, musician, and songwriter. Ferry came to public prominence in the early 1970s as lead vocalist and principal songwriter with the band Roxy Music, who enjoyed a highly successful career with three number one albums and ten singles entering the top ten charts in the United Kingdom. Mamouna is an album by British singer Bryan Ferry, released on Virgin Records in September 1994. He spent six years writing the album and perfecting it. The album name refers to a city in Morocco called Mamouna and means 'safe' in arabic (مأمونة).

60 ans de carrière dans un coffret 4 CD. Inclus 86 chansons. Poète libre et debout, poète sans haine et sans mépris, poète qui ne joue pas à l’être, poète silencieusement heureux pour les autres, Georges Chelon ne se taira jamais. Il nous parle du plus profond de nous, de ce si difficile à avouer et à trouver : L'AMOUR.

"Die neue Edith Piaf", so wurde Mireille Mathieu genannt, als am 21. November 1965 im französischen Fernsehen ihre magische Stimme entdeckt wurde - mit Chansons von Edith Piaf.

The protagonist of Saint-Saëns’ Proserpine, premiered at the Opéra-Comique on 14 March 1887, is no reincarnation of the ancient goddess, but a Renaissance courtesan well versed in culpable amours. According to the composer, she is ‘a damned soul for whom true love is a forbidden fruit; as soon as she approaches it, she experiences torture’. Yet for all the innocence of her rival Angiola, the unexpected happens: ‘It is the bloodthirsty beast that is admirable; the sweet creature is no more than pretty and likeable.’ Visibly enraptured by this delight in horror, Saint-Saëns indulges in unprecedented orchestral modernity, piling on the dissonances beneath his characters’ cries of rage or despair. He concluded thus: ‘Proserpine is, of all my stage works, the most advanced in the Wagnerian system.’ The least-known, too, and one which it was high time to reveal to the public, in its second version, revised in 1899.