le Petit Violon

Django Reinhardt - Intégrale - La Collection Complète (1928-1953) {20 vols - 40CD - Fremeaux & Associes rel 1996-2005}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 8.28 Gb
Full Artwork @ 600 dpi (jpg) -> 1.32 Gb | 5% repair rar
© 1928-1953, 1996-2005 Frémeaux & Associés | FA 301 ~ FA 323
Jazz / Continental Jazz / Swing / Gypsy / Guitar

Set of Fremeaux’s definitive Integrale Django Reinhardt collection. Mastered by Daniel Nevers, there are 20 volumes of these, and each volume has 2 CDs – 40 CDs total. Each volume also comes with a fairly thick booklet with discography and notes. And the booklets and inserts have very nice B&W pictures of Django. Une réédition d’exception ! Depuis quelques années maintenant, les éditions Frémeaux ont entrepris la publication d’une intégrale des enregistrements de Django Reinhardt.

The first edition of this discography, each copy of which had its own room, left on Mercury (PolyGram) sale in the luxury, deluxe version in 1997, and since then, discography, fully or partially reprinted many times. But the new runs all comers is not enough, so now it can be purchased only on occasion. And all because of Serge Lama, no doubt, is another jewel in the crown of French pop music of the past half century.

Women composers had great difficulty in making their voices heard and gaining recognition during their lifetimes. Even today, they are all too rarely heard in the concert hall or the opera house. That situation obviously cries out for a change in attitude, but then come the questions: all right, let’s programme women composers, but which ones, and which of their works? In this eight-CD set featuring several hundred performers, the Palazzetto Bru Zane offers its initial answer as far as nineteenth-century France is concerned. The selections range over chamber music, orchestral works, piano pieces and songs. They highlight twenty-one female creators, from already identified personalities like Hélène de Montgeroult, Louise Farrenc, Pauline Viardot, Marie Jaëll and Mel Bonis to such completely unknown figures as Charlotte Sohy, Madeleine Jaeger, Marthe Grumbach, Jeanne Danglas, Hedwige Chrétien and Madeleine Lemariey. From now on, there will be no excuse for ignoring Romantic women composers.

«Bach les écrivit pour son fils aîné Wilhelm Friedemann. C’est en les étudiant que Friedemann se préparait à devenir le grand organiste que je connus par la suite. Il est impossible de vanter les mérites de ces sonates […], on peut les considérer comme étant le chef-d’oeuvre en ce genre. » (Johann Nikolaus Forkel, 1802). Chef-d’oeuvre, et comment ! Mais d’un « genre » éphémère. Personne avant Bach ne s’était risqué à recadrer si méthodiquement, pour l’orgue, les figures et les volutes d’une sonate en trio pour deux violons et continuo.