Louis la Flemme Letzgo

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 New Grove Dictionary has entries on 10 musically active members of the Couperin dynasty, of whom Armand-Louis is, chronologically speaking, the eighth. Born in 1725, he was the son of one of the great François Couperin’s cousins, and held a number of organ posts in Paris, including the virtually family-owned one of St Gervais, on the way to Vespers at which he was killed in a road accident just a few months before the Revolution. According to accounts he was a likeable man whose life was led free from strife and uncorrupted by ambition, and it is not fanciful to say that such are the qualities which inform his harpsichord music. Mostly rather rangy character pieces, though with a sprinkling of dances, they show the bold textural richness of the later French harpsichordist-composers, if without the galloping imagination of figures such as Rameau, Balbastre or Royer. Instead, they prefer to inhabit a contented rococo world, into which they bring considerable professional polish. If that makes the pieces sound predominantly ‘pleasant’, well, so they are… as agreeable a body of solo harpsichord music as any. But they are not vapid and neither are they easy, and we can be grateful that this selection has fallen to a player as technically assured and as musically sympathetic as Sophie Yates.

It is in his organ music that Olivier Messiaen most perfectly expresses the originality and power of his temperament. The instrument was for a long time the privileged vehicle of spiritual meditation for Messiaen, who used it to explore all the possibilities of his instrumental language and succeeded in renewing his musical aesthetic without ever renouncing tradition.