Marcel et Son Orchestre Sophie

Un jeu de piste à la recherche d'un mari disparu et d'un tueur en série sur la mythique route 66, à travers les états américains et sur plus de 40 ans.
Juillet 1966. Dans la petite ville perdue de Narcissa, Oklahoma, une maison isolée en bordure de la mythique route 66 est la cible d’un tueur sanguinaire. Une femme enceinte et une fillette sont assassinées, une mère et son fils Desmond grièvement blessés. …

La commissaire Anne Capestan, reléguée au commandement de la Awkward Squad, des inadaptés policiers infaisables qui ont refusé de prendre leur retraite, après sa propre disgrâce, à Paris, en France …

La naissance d'un clan de femmes, le premier double meurtre de l'humanité…

This album aims to reveal or remind of the unique beauty of Robert Schumann's late compositions, characterized by an evolving writing style and a musical discourse rich in emotions and history. The alleged madness of Schumann should not be simplistically attributed to his music or his creative genius. On the contrary, this aspect adds a unique depth to his work.

This Albert Roussel disc couples the Second Symphony with one of the composer's most popular pieces, the complete ballet music for Bacchus et Ariane. It is the first in a cycle of three releases featuring the four symphonies and two ballets by the French composer, performed by the Orchestre de Paris and Christoph Eschenbach.

The goal of this recording is to celebrate French music through its past: its antique dances, its pastoral ambiences, its atmospheres of legend… starting with a homage to François Couperin. Often considered as the very quintessence of French musical art, this very great composer and harpsichordist succeeded in charming musicians from all times and places, even far removed from his personal universe. We know, for example, that Brahms held him in high esteem. Nearer to our own time, Hendrik Andriessen (1982-1981) – a major figure in Dutch music – borrowed a lovely melody from our composer (from La Basque, in the Second Book of Harpsichord Pieces), as the theme for a set of variations composed in 1944. Led by a tender and agile flute, accompanied by a harp and strings, the work discreetly evokes the rhythms of the antique dances (the Sicilienne, the Chaconne, the Gavotte…) and also contains a ‘scholastic’ fugato; other more lyrical or meditative moments confer an intensity and even a nobility of expression on these charming ‘concert variations’ that make one regret the little reaction that Andriessen's music has suscitated outside of his own country.