Louis Chedid le Bonheur Fait ma Joie

Thomas-Louis Bourgeois (1676–1751) is one of the masters of the French chamber cantata at the time of the Régence, when – at last – it was permissible to introduce Italian influences openly in France. His imaginative music, as elegant as it is compositionally skillful, forms a welcome complement to the works of contemporaries such as Campra or Rameau who are infinitely better known today. Carolyn Sampson and Le Concert Lorrain revive for us the charming insouciance of the Régence.

La discographie de Serge Gainsbourg emprunte différents styles musicaux sans jamais perdre son éloquence et sa singularité, signe d’une maîtrise esthétique magistrale! Le 2 avril 2018 marque le 90e anniversaire de la naissance d’une signature artistique majeure dont l’influence ne cesse de se manifester. A cette occasion paraît en tirage limité “90 Séquences”, un nouveau coffret Best Of de 4 CD, du “Poinçonneur des Lilas” (1958) à “You’re Under Arrest” (1987), accompagnés d’un DVD inédit exclusif avec la participation de Jane Birkin, Etienne Daho, Alain Chamfort, Louis Chédid, Philippe Manœuvre…

Leslie Howard's recordings of Liszt s complete piano music, on 99 CDs, is one of the monumental achievements in the history of recorded music. Remarkable as much for its musicological research and scholarly rigour as for Howard's Herculean piano playing, this survey remains invaluable to serious lovers of Liszt. Every known note of Liszt's piano music has been recorded and is included here: Leslie Howard's 57 original volumes plus the further 3 supplements. GUINNESS WORLD RECORD for the world s largest recording series by a solo artist.

Jean-Philippe Rameau (1683-1764) left two very different versions of his tragédie en musique Zoroastre: the first, in 1749, suffered from cabals and the work was withdrawn from the repertory. Rameau gave it a thoroughgoing revision in 1756. At this time, he was at the height of his powers. Melody, harmony, orchestration and choral writing no longer held any secrets for him. Zoroastre brought still further innovation. For the first time, he dispensed with a prologue, and turned the overture into a philosophical ‘programme’, the struggle between day and night, between good and evil. The 1749 version is entirely governed by avant-garde ideas; Zoroastre resembles Tamino in Die Zauberflöte, but two generations earlier. This disconcerted some of the audience: Zoroastre was a moral, social and philosophical opera.