La Dysfonction Ostéopathique

The Happy Prince is a studio album by the New Zealand rock band The La De Das, released in June 1969. It was the third album from the group and is often cited as the first Australian and New Zealand concept album…

The La De Da's were a leading New Zealand rock band of the 1960s and early 1970s. Formed in New Zealand in 1963 as The Mergers, they enjoyed considerable success in both New Zealand and Australia until their split in 1975…

This new album is conceived as a mirror of our previous disc. Our aim is not so much to recreate a religious office but, rather, a concert programme in which the innovations of John Dunstable, Nicholas Ludford and William Whitbroke converse with our ymaginacions.

Johann Sebastian Bach was certainly familiar with the Pantaleon – a large hammered dulcimer with a wide range and full chromatic scale. Bach’s contemporary Pantaleon Hebenstreit had developed the instrument, through which he gained international renown and became one of the best-paid Dresden court musicians. The instrument enjoyed great popularity in the 18th century and was an important precursor of the fortepiano, its younger brother. Bach may have heard Hebenstreit with his Pantaleon himself, as he knew several court musicians of the Dresden orchestra personally and also performed with some of them. Whilst we cannot know if they had met in reality, our imagination has nonetheless been much exercised. What would Bach have put on his famous colleague's music stand? Very little music written for the Pantaleon has survived, although the instrument’s use in the court orchestras of Vienna and Dresden suggests that works for the harpsichord and for the violin in particular could have served for arrangements and improvisations. It is hard to imagine that Bach would have objected to a virtuoso like Hebenstreit adapting his violin sonatas for the Pantaleon.

With Lux laetitiae , La Reverdie continues its discographical journey after the success of its most recent production devoted to Francesco Landini: from the Florence of the great blind composer of the fourteenth century, to the splendour of the Este court in fifteenth-century Ferrara! The programme presents twelve pieces from an important codex that belonged to the court, in which fashionable composers such as Guillaume Dufay and John Dunstaple tried their hand at the motet genre. The performances combine six voices with a rich array of instruments and aim to reproduce the resplendent sound of the Este cappella at the time of Lionello and Borso, passionate patrons who attracted to Ferrara many talented artists charged with adorning the court with art, beauty and harmony. An exploration of the prolific tradition of the Marian cult which, from the twelfth century onwards, was manifested in an extraordinary wealth of musical forms and which, in the fifteenth century, resulted in grandiose compositions that can still captivate us today with their complexity and fascination.

Un guide des plantes médicinales utilisées dans la médecine traditionnelle chinoise, présentant leurs caractéristiques morphologiques, leur composition chimique, leur implantation géographique ainsi que leur utilisation pharmaceutique. …