Jea René Roy

Giovanni Battista Pergolesi - Stabat Mater, séquence pour soprano, alto, cordes et orgue
Sebastian Hennig / René Jacobs - Concerto Vocale
EAC+LOG+CUE | FLAC: 158 MB | Partial Artwork | 5% Recovery Info
Label/Cat#: Harmonia Mundi # 1901119 | Country/Year: France 1987, 1983
Genre: Classical | Style: Baroque, Sacred, Vocal

"…If you retain a place in your heart for this work, do try this performance. Its many ravishing moments easily win over the shortcomings." ~Grammophone

René Clemencic & Esmail Vasseghi - Duo Clemencic & Vasseghi (1987) {Accord 220812}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 338 Mb | MP3 @320 -> 152 Mb
Full Artwork @ 300 dpi (png) -> 28 Mb | 5% repair rar
© 1987 Accord | 22081 2
Classical / Medieval / Early Music / Flute

"Lively authenticity" is one commentator's description of René Clemencic's musical performance aesthetic. The Viennese-born recorder player, composer, teacher, and conductor has sought this authentic mode of musical expression in an extremely wide range of musical experiences. Trained as a recorder player and keyboardist, earning a Ph.D. from Vienna University in 1956, Clemencic performs on a variety of early flutes, recorders, and other woodwind instruments.

René Riesel, agriculteur lozérien et ancien secrétaire national de la Confédération paysanne, fut un temps camarade de lutte de José Bové. Dans ce livre, René Riesel condamne aussi bien la pensée dominante que les objecteurs de croissance …

It has haunted René Jacobs since childhood: first as a boy soprano in Ghent, then as a countertenor, he has constantly frequented the supreme masterpiece that is the 'St Matthew Passion'. Jacobs uses the layout of the Good Friday Vesper service from Bach's time, with choirs front and back, rather than side-by-side. He also gives us extra soloists to complete the bi-choral effect. For Bach, the two halves were 28 metres apart. At that distance, coordination difficulties begin to appear between the speed of light, and the speed of sound, and we cannot determine how Bach dealt with this problem. However the wonders of SACD multichannel surround sound can at last give an impression of what Bach intended for St Thomas’ Church in Leipzig.

Now attributed to Pergolesi on the basis of recent research, the ‘Seven Words of Christ’ has been regarded as ‘one of the most heartfelt works of art, full of profound tenderness and an all-conquering sense of beauty’ [Hermann Scherchen, on its discovery in 1930]. However, his judgment has remained unheeded and only the discovery of two more manuscripts in the abbeys of Kremsmünster and Aldersbach, by the musicologist Reinhard Fehling, prompted the firm of Breitkopf & Härtel to publish a critical edition…

Rene de Bakker is an electronic artist, also known from Beyond Berlin. At age of 15, he became interested in symphonic rock bands and synthesizers used by them. But it was Timewind by Klaus Schulze that made him wanting to play a synthesizer. Beside Schulze, Rene was influenced by all great electronic music of that time like Tangerine Dream, Tomita, Synergy and Vangelis. With this heavy Berlin School influenced release the sequences rule. Rene's first release on Groove is an solid mature release that will be liked by any who love the big Berlin Sound!

Avec deux hypothèses, l’une sur le désir mimétique, l’autre sur le bouc émissaire, René Girard a bouleversé, depuis quarante ans, le champ des sciences humaines.
Sa théorie, qui a replacé le christianisme au cœur de l’anthropologie, est aussi l’une des rares, depuis Durkheim, à tenter d’expliquer les phénomènes culturels et sociaux en remontant à leur origine. …

Défi lancé aux agriculteurs africains, L'Afrique noire est mal partie fit scandale au moment de sa parution, en 1962. René Dumont, ingénieur agronome, dresse un constat peu encourageant de l'Afrique sub-saharienne qu'il parcourt et observe. …

Is another baroque opera–in this case by composer Reinhard Keiser (1674-1739)–really worth hearing in its entirety? After a completely conventional overture, the opening scene pits the legendarily rich king of Lydia, the titular Croesus (who incidentally lived in the fifth century B.C.), against the Athenian philosopher and lawgiver Solon. On account of his immeasurable wealth, the complacent Croesus believes himself to be completely secure and unassailable; Solon mocks his riches and points out how ephemeral all earthly goods are. This exchange of words via recitative is perfectly built up–both as a composition and as performed here. From his very first notes, Roman Trekel's Croesus carries conviction, while Kwangchul Youn (a role originally intended for tenor but justifiably and effectively transcribed by conductor René Jacobs for bass) is no less impressive.

René Marie's sensational 'Sound of Red' finds the singer at the top of her game, breaking new ground with her first album of entirely self-penned originals. After landing a Best Jazz Vocal Album GRAMMY nomination with her last release, Marie shoots for the stars again with 'Sound of Red', as she writes a new chapter in jazz in her patented ultra-sexy, wise, provocative and daredevil style. Her brilliance as a writer who draws equally on jazz, folk, R&B and country proves an easy match for her brilliance as a performer.