Aalto Sans Pro

" Qui sont les sans-abri ? " ; "Comment devient-on SDF ? " ; " Somme-nous tous susceptibles de nous retrouver un jour à la rue ? " ; " Comment peut-on s'installer durablement dans le sans-abrisme ? " sont quelques-unes des questions que chacun d'entre nous est amené à se poser face à un phénomène en expansion dans la plupart de nos grandes villes depuis une quinzaine d'années. Le présent ouvrage propose un éclairage pluriel sur une problématique complexe, en l'abordant dans une optique comparative et multidisciplinaire. …

Between the years 1715 and 1730, a series of exceptionally favorable circumstances occurred at the Court of Dresden, most notably the presence of remarkably skilled players, especially in the ranks of oboes and bassoons. The focus of the present album, consisting almost entirely of world première recordings, on period instruments, is on Johann David Heinichen. His compositional attention seems to concentrate on the oboe, producing a series of pages which show a treatment of the shapes and affects being surely the result of great talent, skill and artistic intelligence, as clearly demonstated beyond any doubt in the compositions collected in this recording.

How to read Ronsard today? Simply aloud or in singing it, like back then. Because, for Ronsard, nothing is more obvious than to unite music and poetry: “I also want you to encourage you to pronounce your verses loudly in your room, when you do them, or sooner sing them, whatever voice can have. » Ronsard, Abbrégé de l’Art poétique françois, 1565 As soon as the collection of Loves was published, it was fashionable for a composer to set these poems to music. To quote the most famous: Goudimel, Certon, and of course Janequin. But long after death of the poet, many composers have continued to do so: Bizet, Saint-Saëns, Ravel, Poulenc… It is because Ronsard’s texts have no no age; Pick the roses of life today is a principle immortal. Julien Joubert reads poetry every day, aloud and even the most often while singing. It was therefore only natural that he lean on the work by Ronsard.

Between the years 1715 and 1730, a series of exceptionally favorable circumstances occurred at the Court of Dresden, most notably the presence of remarkably skilled players, especially in the ranks of oboes and bassoons. The focus of the present album, consisting almost entirely of world première recordings, on period instruments, is on Johann David Heinichen. His compositional attention seems to concentrate on the oboe, producing a series of pages which show a treatment of the shapes and affects being surely the result of great talent, skill and artistic intelligence, as clearly demonstated beyond any doubt in the compositions collected in this recording.