Publié en coédition avec la Cité internationale de la bande dessinée et de l'image (Angoulême), LeBouquin de la bande dessinée présente un état complet et structuré du savoir et de la pensée sur la bande dessinée. Pour la première fois, l'ensemble des codes de la bande dessinée et sa place dans l'histoire culturelle sont intégralement traités.
La vitalité artistique de la bande dessinée est aujourd'hui largement reconnue, particulièrement en France. Ses créateurs sont considérés sur un pied d'égalité avec les artistes de toutes disciplines. …
More than 300 years after Antonio Vivaldi composed The Four Seasons , the most famous work in the history of music is still as lively and invigorating as ever. Now Le Concert de la Loge has recorded this Baroque treasure with its founder and director, the violinist Julien Chauvin, as soloist. For the occasion, the Château de Versailles has loaned him an exceptional instrument: a Neapolitan violin by Nicola Gagliano, adorned with fleur-de-lys and inlaid decorations. This instrument, which was played by Yehudi Menuhin in the 1970s, comes from the ‘collection de Madame Adélaïde’, named after one of Louis XV’s daughters. It has not left the Château for almost a century and is in a perfect state of preservation. The main work is complemented by Vivaldi’s no less celebrated ‘La Follia’ and an aria that is now famous in its own right, ‘Sovvente il sole’ from Andromeda liberata , the score of which was discovered in Venice in 2002. It is performed here by the countertenor Paul-Antoine Bénos-Djian.
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 well-known Concert de la Loge, the period instruments orchestra led by the violinist Julien Chauvin, return with the third episode of Haydn’s journey in Paris. His complete Parisian Symphonies recording continues this Autumn with the number 82 nicknamed ‘The Bear’. It is coupled with the Symphonie concertante for bassoon, horn, flute and oboe of one of his contemporaries, François Devienne. This colourful third volume draws a witty and virtuoso panorama of French 18th century music.
Half Baroque, half contemporary, half French, half British: that is the challenge taken up here by Franck-Emmanuel Comte and Le Concert de L'Hostel Dieu. This recording presents in the same program pieces by Lully and by Purcell, together with contemporary creations by the Frenchman David Chalmin, inspired by Purcell, and by the British composer Martyn Harry, inspired by Lully. Both contemporary composers combine the sounds of Baroque instruments with their own expression, thus removing borders and engaging in a dialogue involving different periods and different languages. Axelle Verner lends her mezzo voice and unique personality to the vocal pieces in this program.
This tenth volume of violin concertos marks the return of Julien Chauvin and his Concert de la Loge to the Vivaldi Edition, with works linked to Pisendel, a major musical figure in the court of Dresden in the 18th century. Julien Chauvin and his Concert de la Loge released a hugely successful volume of Vivaldi concertos with a theatrical theme in 2020. In this new album they perform works focusing on Johann Georg Pisendel (1687-1755), konzertmeister at the Dresden Court chapel, and pupil and friend of Vivaldi, who played a key role in the popularity of the Red Priest's music in Dresden.
Born in Leuze (Hainaut) around 1430, Johannes Martini was initially active in Konstanz, then in Milan and Ferrara, where he died on 23 October 1497. Closely connected with the d’Este family, he was paid in 1479 for the production of a large volume of vocal music for the ducal chapel of Ferrara. He is also the key contributor to the Casanatense Chansonnier, which was compiled for the marriage of Isabella d’Este to Gianfrancesco II Gonzaga in 1490. Thanks to these collections, we can for the first time present a glimpse of the immense output (motets, psalms, mass movements, chansons, instrumental chansons) of one of the most refined composers of the generation before Josquin’s.