Fan de Julien Bert

Pergolesi’s Stabat Mater has enjoyed enormous fame ever since the eighteenth century – Rousseau called its first movement ‘the most perfect and touching that has ever come from the pen of any composer’. There were many arrangements of the work, by Bach or Hiller among others. It was performed more than eighty times at the Concert Spirituel in Paris between 1753 and 1790, in multiple versions, probably also with the participation of a choir. After consulting several manuscripts and editions held at the Bibliothèque Nationale de France, Julien Chauvin has chosen to record it with soprano and mezzo soloists (the equivalent of the French dessus and bas-dessus) and a two-part children’s choir: ‘The choir can play a real role in the narration of so powerful and poignant a text’, he says.

« C'est de l'hébreu pour moi ! » Cette expression populaire marque bien le sentiment d'étrangeté que suscite souvent la langue dans laquelle est écrite la Bible. Pourtant, au même titre que le grec et le latin, l'hébreu est à la source notre patrimoine culturel et spirituel. Tel est le paradoxe que relève Julien Darmon, et qui le conduit à déconstruire les préjugés ancestraux pesant sur une langue réputée « difficile », lointaine parce que « sémitique », « langue morte » qui aurait été réveillée uniquement par le sionisme, etc. …

The Haydn series continues with the Paris Symphony no 87. Julien Chauvin and his orchestra keep shaking us up with historical instruments listening Haydn’s works and several other forgotten scores from the same period. All of them were commissioned for the Concert de la Loge Olympique - ancestor and model for Julien Chauvin and his musicians - and all of them sank into oblivion during the 19th century, except for Haydn’s symphonies. The release offers an opportunity to experience some rare works of Grétry, Lemoyne and Ragué and to revive the success that they once knew.

Stendhal - Le Rouge et le Noir

Julien, le troisième des fils du vieux Sorel, un scieur de bois, a grandi dans l'atmosphère pesante d'une petite ville provinciale de l'est de la France, Verrières, dont M. de Rênal, esprit étroit, vaniteux et ambitieux, est le maire. Peu propre aux travaux de force, parce qu'il ne possède pas comme ses frères un corps d'Hercule, Julien a saisi tous les moyens de s'instruire qui se sont présentés à lui : il a notamment interrogé les vieillards et a étudié avec le curé du lieu.

F. Lazarevitch & Les Musiciens de Saint-Julien - J.S. Bach: Sonates & Solo pour la flte traversiere (2014) {Outhere}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 414 Mb | MP3 @320 -> 172 Mb
Full Artwork @ 300 dpi (png) -> 130 Mb | 5% repair rar
© 2014 Outhere / Alpha Productions | Alpha 186
Classical / Baroque / Chamber Music / Flute

This new version of flute works from Johann Sebastian Bach is based on the edited precepts by the famous flautist Johann Joachim Quantz who met Bach repeatedly. Multiple combinations of joints were particularly interested François Lazarevitch which puts into practice in this record. Fascinated by the "flick of the tongue" that needed to be changed by the flutists at time of Bach, Lazarevitch successful attempts to find a "know-how" which is a fundamental and indispensable element for the music performed here can make any sense.

Renowned as a virtuoso jazz clarinetist and legendary bandleader, Benny Goodman is also remembered for the works he commissioned from leading composers of his day. Poulenc’s strikingly beautiful Clarinet Sonata was his last composition, while Bernstein’s was his first published piece. Both Gershwin and Stravinsky added their distinctive stamp to the swing vibe which was all the rage in the early 20th century. The jazz flavour of Morton Gould’s Benny’s Gig is heightened by the unusual coupling of clarinet and double bass, while pungent folk rhythms define Bartók’s virtuoso Contrasts.