Marie Flore Tout Dit

The Japanese harpsichordist and harpist, Marie Nishiyama, began studying piano at age 3 In 1992 she graduated from the piano department of Tokyo Music University with piano soloist diploma, and in 1994 also received her master's degree in harpsichord there. She studied under Yoshio Watanabe (harpsichord) and Yoshiko Ueda (organ).

The Japanese harpsichordist and harpist, Marie Nishiyama, began studying piano at age 3 In 1992 she graduated from the piano department of Tokyo Music University with piano soloist diploma, and in 1994 also received her master's degree in harpsichord there. She studied under Yoshio Watanabe (harpsichord) and Yoshiko Ueda (organ).

French lutenist Florent Marie's new solo album is dedicated to the music of John Dowland, one of the greatest composers ever for his instrument. The selection of pieces on this album deliberately includes both the sombre and melancholy as well as the more cheerful and uplifting pieces from the composer's oeuvre, creating a rich and colorful musical bouquet of works by the famous Elizabethan lute master.

On her third album for both Fat Possum and Loose Records, Courtney Marie Andrews has pulled in to one package all the songwriting skill, vocal prowess, and musicianship displayed on previous albums, into one career defining statement. A break-up record for sure, though due to Courtney's extraordinary storytelling gifts, more of a modern day coming-of-age tale of love won, love sustained, and unfortunately, love's inevitable dissolution.

“I grew up in the jazz Manouche circles, which are dominated by swarms of guitarists – it’s not always easy to fit in as a singer! Most of the music has no lyrics, and the melodies are often too guitaristique to be sung. The microcosm fascinated me and I too wanted to participate in the Django repertoire… I saw only one option: I had to write my own lyrics, tell my own stories, reinvent his music in my own image.”

Mange Tout, Blancmange's follow-up to Happy Families, appeared in 1984. Typical of many second albums, the production is a little glossier, the sound a little less fresh. On Mange Tout, Arthur and Luscombe stick to the pattern they established on their debut, alternating catchy, sequencer-heavy pop with downtempo ballads. Sitar and tabla flavorings continue to play a significant role, as does co-conspirator David Rhodes' guitar. Also typical of many sophomore efforts, Mange Tout at times runs short of material. While the singles "Don't Tell Me" and "Blind Vision" are nigh irresistible, the similar "That's Love That It Is" gets to be a bit much. And though the B-side boasts the nifty a cappella "See the Train" and the pleasing (if disturbingly Thompson Twins-like) "My Baby," a couple of the songs carry the stench of filler. The album's closer - a synth-heavy, nearly eight-minute take on ABBA's "The Day Before You Came" - isn't terrible, just inexplicable.

Two countertenors for Pergolesis Stabat Mater: this is the resurrection of the first performance in France of this work, introduced by two Italian Castratos from the Royal Chapel of Louis XV, who were enthusiastic propagators of it both at Court and at the Concert Spirituel. Paris was conquered and saw in it the revolutionary mark of a Neapolitan genius, who alas passed away so young. Pergolesi, shortly before his death at the age of 26 and affected by illness, expressed the Virgins suffering with the language of passion more typical of opera.

Widor wrote music for a wide variety of instruments and ensembles (some of his songs for voice and piano are especially notable) and composed four operas and a ballet, but only his works for organ are played with any regularity today. These include: ten organ symphonies, three symphonies for orchestra with organ, Suite Latine, Trois Nouvelles Pièces, and six arrangements of works by Bach under the title Bach's Memento (1925). The organ symphonies are his most significant contribution to the organ repertoire.