Claire Wagner Rémy

Anton Bruckner embarked on his studies with the Linz-based Kapellmeister Otto Kitzler in the fall of 1861 and it was Kitzler who put him in touch with the music of Franz Liszt, Hector Berlioz, and Richard Wagner. In their lessons, they drew on Ernst Friedrich Richter’s primer Formenlehre but also the rather forward-looking textbook of Adolph Bernhard Marx’ and Johann Christian Lobe’s, which familiarized Bruckner with modern instrumentation that went well beyond the style of Viennese classicism.

Sequential variations on anguishing themes, This Is Not The End is a daring opus where EM crosses the ambiguous meanders of a progressive contemporary music on crystalline sequences girdled of synth to flavors as apocalyptic as its chorus. This Is Not The End is a catalyst opus which will undoubtedly animate your evenings of interrogation and anguish. This 6th opus of Remy is a daring one full of musical bounces to sequential similarities which astonish and charm, so much by their unpredictability than their lyric, even poetic, denouement. The kind of opus that is creates too rarely in this aseptic universe of broken down redundancies of inspiration. Great obsessional music.

The two twin-albums “DisConnected” and “Connected” shows us a Remy who has matured in his music and who has developed a style of his own. And an impressive style it is. Using both classic instruments like the VCS3 (I and II) and the Memorymoog as well as modern equipment, he brings us music that will appeal to a lot of electronic music fans. He combines excellent sequences, great atmospheres, well-constructed rhythms and nice solos. A great example of this is the track “Ages” from “DisConnected” which shows Curly Quazar on electric guitar. Remy is a master of the sequence: “The Missing Part” from “Connected” clearly indicates this.

Remy returns to these virtual pages with an offering thematically connected to his recent Disconnected, in title at least. The music is similarly influenced by Klaus Schulze, circa 1975-78 and fans of Schulze's recordings of that era are almost sure to enjoy this one. Remy composes very ably in this style, and while the stylistic innovations may be few, he is able to use and twist the style to respond to his personal expressions.

Alto Saxophonist Remy Le Boeuf Aims For Intimacy & Restraint on his bandleader debut, Light as a Word (Outside In Music). Out May 24, 2019, the album features longtime friends & collaborators, Walter Smith III (tenor sax), Aaron Parks (piano), Charles Altura (guitar), Matt Brewer (double bass) & Peter Kronreif (drums).

The second album from alto saxophonist Remy Le Boeuf's big band Assembly of Shadows, 2021's Architecture of Storms is an enveloping production showcasing his kinetic improvisation and deeply textured compositional skills. The album is the follow-up to the group's Grammy-nominated 2019 eponymous debut and once again displays their progressive, cross-pollinated approach to modern creative jazz.

Francesco Manfredini was born in the austerely beautiful Tuscan town of Pistoia in 1684, a year before Bach, Handel and Scarlatti; he died as maestro di capella there in 1762. In the interim, he studied at Bologna with Torelli and later worked in Ferrara. He published relatively few sets of sonatas and concertos, and six oratorios, composed between 1719 and 1728, remain in manuscript. His 12 Concertos, Op. 3, were published in Bologna, a great musical centre in those days, in 1718, and were preceded by 12 Concertini, Op. 1, and 12 Sinfonie da chiesa, Op. 2. The Op. 3 Concertos are lively works, though less brilliant than Vivaldi’s similar pieces and lacking the nobility of Corelli’s sonatas and concertos. The final concerto of Op. 3 contains a ‘Pastorale per il Santissimo Natale’ which is Manfredini’s best-known work.

These lively, idiomatic and sometimes witty performances show CPE Bach’s harpsichord songs, early precursors of the Romantic Lied, to be far more than museum pieces, from the Three Different Attempts at a Single Song for Hexameters through to a Fantasy in C minor with Hamlet’s Monologue.