Meeting between heaven and earth, between a singular woman, mystic, scientist, musician, living in the Rhineland at the beginning of the first crusade, and a contemporary Lebanese composer. Where the music and poems of the abbess of the twelfth century, famous for its ecstatic visions, rises to melt in that of Moultaka to a gradual descent into hell. Between archaism and modernity, Gregorian and old modes, the sound universe, by the games of echoes and resonances, takes on a strange modernity and questions our contemporary world, its blackness, its violence, its fragility. All of Caelis, directed by Laurence Brisset, has specialized in the ancient repertoire and has been opening its programs for today's composers for several years.
Oresteïa  for children's choir, mixed choir and instrumental ensemble, for solo baritone and percussionist soloist on Greek texts from Aeschylus. Kassandra is an independent work, but it is obligatorily interpreted when one plays Oresteïa (which includes three other parts: Agamemnon, Choéphores, Euménides). Spiros Sakkas gives an unheard of interpretation, alternating head and chest. Because the soothsayers are always double beings, between reason and delirium.
The Sicilian nobleman Sigismondo d'India was roughly contemporary with Monteverdi (both began their careers around 1600); the musical ferment of that period led, in d'India's case, to a very heady brew. His madrigals–duets, solos and five-voice works–are like inebriated Monteverdi: d'India set the Italian poetic texts (usually dealing with a lover's pain) with even less regard for academic counterpoint and even more surprising twists of harmony than did his more-famous colleague, yet the music never veers into the disorienting, seemingly willful weirdness of Gesualdo.
"Penser l'individuation" se propose de couvrir l'ensemble de l'oeuvre de Simondon, en consacrant le premier volet au thème de la "Nature", et en réservant à son second volet ceux de la "Connaissance" et de la "Technique". Il apparaîtra à chaque fois que le combat principiel de Simondon contre l'hylémorphisme a chez lui valeur de subversion des alternatives classiques en général, et d'abord de l'opposition du sujet et de l'objet qui fait leur sol si la connaissance de l'individuation, elle, est aussi individuation de la connaissance. …
The music of Spanish Renaissance composer Sebastián de Vivanco has rarely been recorded, although he was apparently well-enough regarded in his own time; several volumes of his work, containing all the music heard here, were issued in the first decade of the 17th century. His neglect may be due to the fact that he doesn't quite fit the dominant historical narrative, which prizes the Spanish inflection of Palestrina's Counter Reformation clarity in the dark, transparent motets of Tomás Luís de Victoria and Alonso Lobo.