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A world-premiere recording of elegant, courtly French harpsichord suites by a forgotten name of the early 18th century.
The early life and formation of Charles-Alexandre Jollage is shrouded in obscurity. By the time he enters the historical record in the 1720s, he had become organist for the King of Poland, Stanislas Leszcznski, at that time exiled to France and settled at the castle of Chambord in the Loire region of France.In 1733 Stanislas left Chambord for Warsaw where he claimed the throne of Poland; meanwhile Jollage seems to have settled in Paris, where his only known set of work was published in 1738, and dedicated to the Marquise of Clermont d’Amboise. After that point, it has been established with greater certainty that he remained in Paris as an organist, and died there in 1761.

He is the author of the monograph Les campanes del Reial Monestir de Santa Maria de Ripoll - a musical approach - and the collection of essays Sobre música, both edited by the Ripoll Town Council and the Board of Trustees of the Santa Maria de Ripoll Monastery. In musicological research, he is the author of Notes on the Musical Theory of the Middle Ages in the Monastery of Ripoll, a study on an organ by the centenarian Francesc Galtayres, s. XVIII, from the church of Sant Pere de Ripoll; the review, study and transcription of Lluís Brusi's First Tone Verses and the Theme with Variations by the Montserrat monk Benet Brell i Clos, published by the Center for Regional Studies of Ripollès; Works for organ - a collection of unpublished pieces from the Escola Montserrat and Josep Elies - and the Organ Piece by P. Anselm Ferrer, also published by Ripoll Town Council. In 2019 he began a series of dissemination articles about the musician monks of Montserrat.

After the success of Sauver ou Périr (2018) and Goliath (2022), director Frédéric Tellier has created a poignant biopic on the founder of Emmaus: Abbé Pierre (Henri Grouès). The soundtrack is signed by the American composer and guitarist, member of the group The National, Bryce Dessner. After collaborations with Alejandro González Iñárritu on The Revenant and Bardo or the very popular The Two Popes by Fernando Meirelles, Bryce Dessner offers us for this river film a score full of subtlety and emotion.

An obscure corner of the French Baroque illuminated: the only available recording of the sole extant collection by a Parisian organist and composer.About Pierre-Thomas Dufour, almost nothing is now known for certain beyond his death in Paris, on 30 December 1786, and the publication in 1770 of this collection of harpsichord pieces bearing his name. He probably wrote a good deal else, both for harpsichord and organ, given that the title page of the collection informs us that Dufour was organist of the Eglise de Saint-Jean-en-Grève and the Eglise Saint-Laurent, both in Paris.

Le Requiem de Mozart n’est présenté à Paris qu’en 1804, dans une version légèrement différente de celle composée par Mozart. La presse se fait l’écho d’un triomphe. 1804 est aussi l’année du sacre de Napoléon : de ses conquêtes méditerranéennes, Bonaparte avait rapporté un goût prononcé pour la musique italienne. Il confie ainsi au Napolitain Giovanni Paisiello (1740-1816) la direction de sa chapelle musicale et lui commande la musique de son couronnement, une Messe solennelle en si bémol majeur. Le Palazzetto Bru Zane a créé l’édition moderne de l’œuvre qui est enregistrée ici. Outre la fastueuse 1804, l’autre année qui relie Napoléon à Mozart, c’est 1841, lorsque son Requiem retentit à nouveau aux Invalides alors que le corps de Napoléon y fait son entrée…Sandrine Piau, Chantal Santon, Eléonore Pancrazi, Mathias Vidal et Thomas Dolié sont les solistes de ce programme dirigé par Julien Chauvin, à la tête de son Concert de la Loge et du Chœur de Chambre de Namur.

Eleanor was born in England in 1275 to Beatrix of England and John II, Duke of Brittany. In 1283, at the age of eight, she entered Amesbury Priory, and in 1304 she became Abbess of Fontevraud, where she died in 1342. A Gradual bearing her coat of arms is now kept in Limoges public library; it is a richly illuminated manuscript, which can be dated to the second half of the thirteenth century. In addition to a Gregorian Mass, it contains a whole repertory of Propers: Sequences, proses, lessons and three two-voice polyphonic pieces that are wholly representative of an oral style. This entirely a cappella music, captivating and bewitching, is a discovery not to be missed.

"Le miroir de Jesus' (The Mirror of Jesus) for mezzo-soprano, women's choir, strings and harp, the last major work composed by the French composer Andre Caplet in the spring and summer of 1923 and based on fifteen poems by the French writer Henri Gheon, was subtitled 'Mysteres du rosaire' (Mysteries of the Rosary).

With Alicia de Larrocha’s centenary upcoming, we focus on her fantastic Hispavox and EMI Spain recordings devoted to Spanish music, of which she has been a fiery advocate throughout her career. Catalan by birth, she soon developed a strong attachment to the music of fellow countryman Enrique Granados, leaving one of the most inspired renditions of the Goyescas cycle, here coupled with many other works such as the irresistible Spanish Dances.

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