Mi I Habits

Six ans après le premier, un nouveau lot de six concertos, où tarte à la crème du "divin Mozart" ne résiste pas aux assauts de solistes et d'orchestres allumés. Six raretés, par ailleurs.

Pierre Schaeffer - Solfège de l'objet sonore (1967) {3CD Set, Ina-GRM ina c 2010/11/12 rel 2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 481 Mb | MP3 @320 -> 311 Mb
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© 1967, 2005 Ina-GRM | ina c 2010/11/12
Classical / Electroacoustic / Electronic / Musique Concrète

It is a well-established fact that our approach to music is generally twofold: this is the physicists' as well as the musicians' doing. One the one hand, music is considered to be based on acoustics, or even mathematics, which ought to give it the status of a science; on the other hand , it is acknowledged that it proceeds from psychological and sociological phenomena which, over the ages, have developed into an art, itself depending on various crafts. There is no longer any contradiction between the two approaches so long as one is prepared to accept them jointly, with enough insight to respect the methods proper to each end of the "chain."

As part of their comprehensive survey of the music of Claudio Monteverdi, Claudio Cavina and La Venexiana delivered an exceptional version of L’Orfeo, a reading which had been honed by their trailblazing interpretations of the composer’s madrigals. This highly-esteemed recording of the favola in musica – critics applauded and fêted it in many different countries – subsequently dropped out of the catalogue and Glossa is very pleased to have the opportunity to return it there as part of this year’s 450th anniversary commemorations of the composer’s birth.

It's been two years since the Gipsy Kings' masterpiece Roots, an album where they kissed big, extravagant production, as well as big drums and keyboards, goodbye. Apparently old habits are hard to break. On the cover of 2007's Pasajero, the Kings look back to the natural thang. They are posed on a picnic table in the middle of some wild grass and trees, playing together, laughing, and singing. Covers can be deceiving, and this is one of them. Pasajero is a big return to glossy sound, extravagant production, big drums, dub bass, and electronic programming and percussion. There's no problem if you dig your Kings that way, of course. The group lays down impeccable nuevo flamenco fusion with all sorts of world traditions, such as reggae on "Pueblos," with a splashy horn section playing in fine dub-cum-mariachi style and a bubbling bassline over the drums.

It's been two years since the Gipsy Kings' masterpiece Roots, an album where they kissed big, extravagant production, as well as big drums and keyboards, goodbye. Apparently old habits are hard to break. On the cover of 2007's Pasajero, the Kings look back to the natural thang. They are posed on a picnic table in the middle of some wild grass and trees, playing together, laughing, and singing. Covers can be deceiving, and this is one of them. Pasajero is a big return to glossy sound, extravagant production, big drums, dub bass, and electronic programming and percussion. There's no problem if you dig your Kings that way, of course. The group lays down impeccable nuevo flamenco fusion with all sorts of world traditions, such as reggae on "Pueblos," with a splashy horn section playing in fine dub-cum-mariachi style and a bubbling bassline over the drums.