Nathy Peluso La Sandunguera

“And the violin dances Furiant, carried away by an irresistible ardour”. Beyond the intrinsic character of gypsy music, which constantly moves back and forth between melancholy and joy, dance is the obvious thread running through this album. It creates a bond through its intensity and infinite rhythmic contrasts, revealing a wide range of emotions. One dance can contain an entire life, with its laughter, its tears, its perpetual movement, its ruptures, its unpredictability in the passage from one emotional state to another…

Se veut une introduction à la science musicale et souhaite donner une vue d'ensemble sur les bases de la musique. …

Pianist Lise de la Salle has a big tone and a strong technique, but while she is surely up to the technical requirements of Prokofiev's and Shostakovich's first piano concertos, she seems out of her depth in their interpretive demands. She can pound her way through the muscular rhythms and massive sonorities in the outer movements of Prokofiev's concerto but appears immune to the lyrical poetry in the legato lines of the work's central Andante assai.

Le traité de stratégie le plus ancien et le plus célèbre !
Découvrez le livre audio L'art de la guerre et laissez-vous guider par les enseignements de Sun Tzu pour maîtriser l'art subtil de la victoire ! …

Countertenor Tim Mead presents Beauteous Softness, a programme containing restrained yet profoundly moving songs by seventeenth-century English composers such as Purcell, Blow, Humfrey and Webb, in collaboration with La Nuova Musica and David Bates. The album also showcases the rich musical context that provided the foundation from which Purcell rose to prominence.

Linn's Vivaldi: L'Amore per Elvira, featuring the English group La Serenissima under the direction of Adrian Chandler, has quite a bit to offer the Vivaldi fancier. First are Chandler's excellent reconstructions of two of the fragmentary "Graz" violin sonatas that have not come down with their continuo parts intact. Chandler has filled in the missing music with entirely satisfactory replacements that appear to be seamlessly Vivaldian, rendering these works into a listenable form for the first time.

This double album accompanies the eponymous book by Anthony M. Cummings, Music in Golden-Age Florence, 1250-1750 (University of Chicago Press, Chicago & London 2023). They are designed to enable readers and listeners to enter the sound world of late-medieval and early-modern Florence.Despite the enviable place Florence occupies in the historical imagination, its music-historical importance is not as well-understood as it should be. Yet if Florence was the city of Dante Alighieri, Niccolo Machiavelli, Michelangelo Buonarroti, and Galileo Galilei, it was also the birthplace of the Renaissance madrigal, opera, and the piano. Our goal in assembling this set of recordings, which survey the principal surviving genres of music in Florence in the half-millennium between c. 1250 and c. 1750, was to provide a "virtual" evocation of the extraordinary musical culture of golden-age Florence, one of unsurpassed importance. Through the integration of the contents of the book and the CDs, and leveraging text, image, musical notation, and sound, we offer our listeners the possibility of a fascinating metaphoric time travel.