Nu Astepta Prea Mult De La Sfârsitul Lumii

The pianists Mari Kodama, Momo Kodama, Karin Kei Nagano and conductor Kent Nagano present Double and Triple Piano Concertos by Mozart and Poulenc, together with the Orchestre de la Suisse Romande on a new CD recording (Pentatone). Similar to Mozart’s own practice of making music with his family, the Nagano-Kodama family recorded Mozart’s piano concerto No. 7 for 3 pianos and No.10 for 2 pianos as well as Poulenc’s concerto for 2 pianos and orchestra.

Élisabeth Jacquet de La Guerre is one of the most remarkable female musical figures in history. Rarely has a woman composer garnered such esteem in her own time, and her success, rather than provoking resentment in the hearts of her contemporaries, inspired the utmost admiration. One has to give credit to the Grand Siècle, a unique period in this regard, for granting Élisabeth the respect she truly deserved. This recording features works seldom heard but nonetheless of exceptional quality, exemplifying two genres in which Jacquet de La Guerre excelled: the French cantata and the suite for harpsichord. In these, we can discover the intrinsic and timeless value of her artistry, regardless of the anecdotal aspects of the historical and social conditions in which they were created.

This new OSR recording presents the two most ambitious musical responses to Maurice Maeterlinck’s 1893 epoch-making play Pelléas et Mélisande.

Gisèle Halimi : Soixante-dix ans de combats, d’engagement au service de la justice et de la cause des femmes. Et la volonté, aujourd’hui, de transmettre ce qui a construit cet activisme indéfectible, afin de dire aux nouvelles générations que l’injustice demeure, qu’elle est plus que jamais intolérable. Gisèle Halimi revient avec son amie, Annick Cojean, qui partage ses convictions féministes, sur certains épisodes marquants de son parcours rebelle pour retracer ce qui a fait un destin. …

Four years after her boundary\-breaking album Bach Unlimited, pianist Lise de la Salle presents an extremely personal odyssey inspired by her love of the dance and her fascination with the period 1850 to 1950. More than just a question, Lise de la Salle’s ‘when do we dance?’ is an invitation to a voyage, ‘one that explores the different ways in which dance takes possession of the body’. A voyage in time, through a whole century (1850\-1950) with the accent on modernity; a voyage over the oceans, from North America to Eastern Europe, crisscrossing Argentina, Spain, France, Hungary and Russia; a voyage to the very core of rhythm, that essential anchor point for the dance as for music in general, that enlivens the ragtimes of Gershwin and Bolcom, Bartók’s folk dances, a waltz by Saint\-Saëns and a tango by Stravinsky.

Lorsqu'il écrit l'oracle de hominis dignitate, qui aurait dû introduire ses neuf cents thèses philosophiques, théologiques et cabalistiques, Pico della Mirandola (1463-1494) a vingt-quatre ans. Bien conscient du fait que "ses façons ne répondent ni à son âge, ni à son rang", c'est pourtant une philosophie nouvelle qu'il propose à ses aînés …

Stars And Fishes (2004). The Mediterranean is a wonderful symbol of warmth, and it's the inspiration behind this disc, masterminded by producers Marco Bussian and Jean-Charles Vandermynsbrugge. They provide the music and beats, which shimmer in a lovely heat haze, and bring in vocalists to add some magical singing. Often it works well, as with Ozlem Cetin's "Le Reve Est Mort," or "Conmigo," with Sol Ruiz de Galarreta providing the vocal cords. At times, however, it can veer perilously close to the murky terrain of lounge music, as on "Cosmic Lullaby," where even Clair Dietrich's singing can't rescue something mediocre. However, that's the exception to the rule: the vast majority of this disc positively glows and sticks like a burr in the mind…