Fernanda Morello Carnaval Robert Marie Pierre Langlamet Ici & Ailleurs (vol 1)

Carnaval, Op. 9, is a work by Robert Schumann for piano solo, written in 1834–1835 and subtitled Scènes mignonnes sur quatre notes (Little Scenes on Four Notes). It consists of 21 short pieces representing masked revelers at Carnival, a festival before Lent. Schumann gives musical expression to himself, his friends and colleagues, and characters from improvised Italian comedy (commedia dell'arte). He dedicated the work to the violinist Karol Lipiński.

Robert Schumann and Gabriel Fauré - both composers are great masters of the small form, the art of saying a lot with few notes. And both find their deepest and most touching statements in the intimate form of chamber music, which Schumann called "the higher potency of poetry" in his diary. All arrangements were worked out jointly by Martin Löhr and Marie-Pierre Langlamet.

Named after the 18th-century dance-style movement 'Badinerie', this beautiful new album from flautist Julien Beaudiment and harpist Marie Pierre Langlamet offers a diverse span of repertoire, with a rich collection of works from across the centuries. At the heart of the album lies Francis Poulenc's Sonata FP 164, with it's three emotive movements, each painting a vivid musical picture. The wistful Allegro malinconico and the playful Presto giocoso show Poulenc's stylistic intricacies, while Mozart's soul-stirring Adagio from K 285 transports listeners to a realm of serene beauty. Johann Sebastian Bach's iconic Badinerie infuses the collection with Baroque charm.

Named after the 18th-century dance-style movement ‘Badinerie’, this beautiful new album from flautist Julien Beaudiment and harpist Marie Pierre Langlamet offers a diverse span of repertoire, with a rich collection of works from across the centuries.

Named after the 18th-century dance-style movement ‘Badinerie’, this beautiful new album from flautist Julien Beaudiment and harpist Marie Pierre Langlamet offers a diverse span of repertoire, with a rich collection of works from across the centuries.

When Robert Fripp’s Music For Quiet Moments started to appear with relatively little fanfare in May 2020, as a series of weekly uploads to YouTube and streaming services, their overall effect was one of balm. Moving through the digital ether, Fripp’s ambient soundscapes slowly drifted their way through a collective psychological environment grappling with the uncertainty of pandemic times…