Jul la Chabrand

Thanks to Julien Chauvin and his ensemble La Loge, the programs of the Concert Spirituel’s evenings in the late 18th century Paris come back to life. The so called Haydn’s “symphonies parisiennes” are the core of their musical project which also features contemporary composers, some of them are still unknown.

The first ever album dedicated to the music of Ernest Shand, including several first recordings.

Eighteenth century Naples was not only a creative, cultural melting pot, but also one of the most important cities in Europe. Full of impressive contrasts between decay and splendour, and with an immense artistic output whose musical influences stretched across Europe, attracting many musicians and composers, Naples was a source of fascination and has retained its appeal to the current day.

TWhen the legendary Venetian Teatro La Fenice, which had been completely destroyed by fire in 1996, rose like a phoenix from the ashes again, its rebirth was celebrated with Verdi’s La Traviata, an opera that had seen its première more than 150 years earlier in the same theatre. Led by star conductor Lorin Maazel, a cast of brilliant singer-actors brought an exact replica of the March 1853 version to the stage, giving audiences the opportunity to experience the opera as the world first heard at its premiere in Venice. The original score had been found in the archives of La Fenice, so that La Traviata could relive its premiere without any revisions. The great Violetta-Germont duet, the second act finale and the opera’s last two numbers resounded through the theatre in just the way that Verdi initially intended.

It's been over 10 years since the last edition, this new volume of "La Musica De Los Dioses" subtitled "Requiem" find fourteen original pieces that try to provide a spectrum of influences whose origins come from the most remote places on the planet. Chill flamenco, the mystical sound, the Eastern atmospheres and Classic, Chill Out and Ambient. They combine to offer an album with unique identity of its kind. Sounds and influences combine to create a timeless atmosphere, where ethnic and electronic sounds offer a whole multi-cultural sound spectrum. On this occasion La Musica De Los Dioses offers sounds, percussions and voices of the Amazon forest, the tropical islands and Indonesia or multiple regions of Africa, Gregorian chants, sounds with "Alma" converge here with the influences of very different cultures and current rates. Each of the pieces is a marvel of harmony and instrumentation with eternal stories of love and passion.

These albums aims to provide a selection of some of the most representative classic of world music, as well as a selection of recent successes, universalized in version "World". This denomination, we have baptized for the occasion as "La Musica De Los Dioses" (The Music of the Gods), provides a spectrum of influences, whose origins are in the most remote places on earth. Sounds, percussion and voices of the Amazon jungles, islands of Borneo and Indonesia or multiple regions of Africa converge here with influences from very different cultures and current rates.

The Monteverdi contemporary Girolamo Frescobaldi (1583-1643) is now unfortunately almost exclusively seen as an important and influential composer of works for keyboard instruments, but he also composed both sacred and secular vocal music throughout his entire creative period.

New Jersey indie rockers Yo La Tengo had already been slowly growing into their sound for over a decade by the 1997 release of their revelational eighth album, I Can Hear the Heart Beating as One. Their guitar-based pop was steadily finding its legs before this, as the band moved toward increasingly dreamy productions on albums like Painful and Electr-O-Pura. The 16 tracks that made up the ambitious and epic I Can Hear the Heart found the group stretching out their whispery vocals and deceptively straightforward pop approach to encompass a variety of unexpected styles. This meant softly wandering guitars and steadfast drums twisted out of their indie rock trappings and morphed into adventurous Krautrock jams like "Spec Bebop," haunting, harmony-driven psych-folk like "We're an American Band," and even a playfully naive take on bossa nova with "Center of Gravity." As for the blissed-out melodic noise pop Yo La Tengo had been working on for the majority of their existence, this was one of the band's finest hours.