Pour écrire un bon roman, le talent ne suffit pas. La technique ne suffit pas non plus. La méthodologie est un outil. Associez les trois et vous atteindrez le succès, vous écrirez des livres que les générations actuelles et futures liront avec plaisir. Méthode, Structure, Créativité sont les trois piliers de la Méthode Godefroy. …
An extraordinary enterprise … As an experience of the sounds and styles of French organ culture this boxed set, it seems to me, is indispensable … the body of music is mostly, here, not created but simply made alive by the apt choice of instruments … it is a resource to which to return with delight.
A pianist whose work transcended time, Lili Kraus was a Hungarian musician with a love for Viennese classics. Kraus made a career from an early age, performing internationally from the age of 18 and becoming a professor at age 20. She was not only a great solo artist, but was a renowned collaborator.
We tend not to think of the 19th century as a golden age for wind instruments. While the individual instruments themselves enjoyed varying fortunes, their standing was much less significant than that of string instruments or the piano. However, the situation improved for all of them with the onset of Romanticism and a remarkable new repertoire for ensembles of differing types. One such type grew out of the Classical tradition of the divertissement or serenade, bringing together winds and strings in sizeable ensembles ranging from the sextet to the nonet. Another also hailed back to the end of the 18th century and combined winds with piano. And then there was the wind quintet per se, a recent innovation brilliantly exemplified by Anton Reicha and Franz Danzi up until the mid-1820s, which had established itself as a separate genre, characterised by skillful and sophisticated writing.