As the post-punk dust began to settle, a particular strand of artist began applying a knowingly distant, colder aesthetic to their work. While much of the scene began to be dominated by bigger budget, commercially minded former punk and new wave acts, a darker undercurrent did survive, often more interesting, more dangerous and sexier than anything that could be heard on Top Of The Pops at the time. The first generation of the darkwave movement consisted of bands that were equally influenced by the fractured drama of Depeche Mode, Siouxsie & the Banshees and The Cure as they were by the art damaged experimentation of Cabaret Voltaire, Wire and Throbbing Gristle, always rich in Gothic spirt, societal displacement, urban isolation and sexual energy.
A highly unusual composition, even for John Zorn, "Chimeras" consists of twelve movements (and one interlude) scored for sextet plus voice. Each movement pits the vocalist (primarily soprano Ilana Davidson, joined by Elizabeth Farnum on two movements) against some combination of the accompaniment– two reeds (Tara O'Connor on flutes, Mike Lowenstern on clarinet), two strings (Jennifer Choi on violin and Fred Sherry on cello), keyboard (Stephen Drury, performing at piano, organ, and celesta) and percussion (William Winant). The music is loosely influenced by Schoenberg's "Pierrot Lunaire", with the same instrumentatal arrangement but with percussion added), but it's probably the cover, a reproduction of a painting by Heironymous Bosch, that best sums up what's held inside.
Hüseyin Hilmi Pasha's grandson, elegant, a Turkish lady, the first female composer of our Nazife Guran's era of music style and innovation know them without copying, come from within, as written, and joy, fragility and longing of the simple and bold with sensitivity, expressed the naive composer of Featured works, soprano and pianist Idil Ece Ülkü's interpretation of the text as an album was released by Kalan Music…
La Lune est-elle réellement l'astre mort qu'on nous dit ? Quel est la vraie raison de l'abandon de l'exploration lunaire ? Se pourrait-il que la Lune soit déjà occupée ?
Curated by leading musicologist and writer Nigel Simeone, Decca and DG's 20C series is devoted to the compositional high points of the 20th Century, presenting a comprehensive overview of classical music from an often-turbulent era. Volume One is a 28-CD set that features 26 iconic works by 26 composers from 1900-1949 and includes a timeline of musical premieres from that period with repertoire notes by Simeone.
For his guitar laureate recording, Croatian-born Lovro Peretic has selected a panoramic programme that reaches back to the 18th century and forward to modern times. Of the two Scarlatti sonata arrangements one is by Peretic who has also transcribed a Brahms Intermezzo into a poignant lullaby. His performance of Karel Craeyvanger’s Weber homage, reveals the work’s variety and expressiveness. He also plays a sensually evocative piece by Barrios Mangore, and two barely known works by Debussy. Peretic ends the recital with Henze’s characterful Second Sonata on Shakespearean Characters.
Années 1990. Al vit dans un hameau des Pyrénées. Se rêvant aventurier, maquisard ou pisteur, il déteste par-dessus tout l'école. Un jour, avec Vincent, rescapé du génocide au Rwanda, et Adeline, sa petite voisine lunaire, il fonde l'ACE, Association contre école. Incompris par les adultes, Al trouve refuge auprès de papy Robert, qui voue une grande admiration au pédagogue Célestin Freinet.
Séparant la raison et la foi, Jésus est ici présenté comme un mythe qui cristallise les savoirs de son époque : l'astrologie, la mythologie, les textes païens ou sacrés, dont l'Ancien Testament. Cette théorie mythiste de Jésus propose la biographie de cette idée, de l'Annonciation à la Résurrection en passant par les moments d'une vie de légende. …