Marianne

After a first album devoted to early English music, Les inAttendus tackle Bach’s magnum opus: The Art of Fugue.

Last week, the 55th Montreux Jazz Festival wrapped up in Switzerland. Started in 1967 by Claude Nobs, Geo Voumard and Rene Langel, the yearly festival was at first true to its name and focused exclusively on jazz performers.

Hinsichtlich der Vertonung seiner Gedichte war Goethe eher konservativ und bevorzugte die heute vergessenen Vertonungen von Carl Friedrich Zelter, während er mit den kongenialen Umsetzungen Schuberts nichts anfangen konnte.

Hinsichtlich der Vertonung seiner Gedichte war Goethe eher konservativ und bevorzugte die heute vergessenen Vertonungen von Carl Friedrich Zelter, während er mit den kongenialen Umsetzungen Schuberts nichts anfangen konnte.

Following a pair of albums that delved into cabaret and one which paired her with Angelo Badalamenti (an affair that yielded mixed results), the Grande dame of rock & roll returned with her most striking effort in a while.

With the new GENUIN album featuring Atsuko Koga (flute), Georgiy Lomakov (cello), and Marianne Le Mentec (harp), we soar across time and space. At the heart of this recording are works by Claude Debussy for flute, cello, and harp, which adorn the nymphs, naiads, and nature gods of ancient Greece in twentieth-century musical attire. This unusually configured ensemble constructs a temporal bridge spanning from antiquity through Impressionism to the present day – featuring works by André Caplet, Claude Debussy, and Tōru Takemitsu and culminating in the premiere recording of Fuminori Tanada’s Trio.

Die erfolgreiche und preisgünstige Schlager-Serie »Ich find Schlager toll« geht in die nächste Runde. Dabei sind diesmal: Norman Langen - der ehemalige DSDS-Teilnehmer wartet mit tanzbarem Pop-Schlager auf. Titel wie »Pures Gold« oder »Einer von Millionen« bringen die Tanzflächen zum Kochen.

These days, Aarre Merikanto (1893–1958) is one of the best-known early 20th century modernists in Finnish classical music. In his early years, he composed in the National Romantic style, but by the time he was 23, he had developed a much more progressive style. By the beginning of the 1920s, he was writing in a modern, free-tonal musical language with a strong focus on timbral colour. Merikanto himself considered his “radical” style to be innate, but we know he was in fact inspired by Debussy and Scriabin, and especially Sibelius’ Fourth Symphony. After moving from the countryside back to Helsinki in 1928, Merikanto started actively networking with other Finnish composers, which also had an effect on his music.

The blue hour is the moment between the end of the night and the daybreak, when one can see it appear before it has risen: this little breach through time allow us to foresee. Marianne Piketty and the Concert Idéal gather several works written by visionary composers: the mystical chants of Hildegard von Bingen, known for having experienced visions and Hartmann’s Concerto Funebre which announces the horrors of the nazis.