Marie Flore Tutto Passa

From Renaissance Spain to 21st century Denmark, On a Ground is a musical journey across time and traditions,centered around one of music’s most universal elements: the ground bass. Celebrated recorder virtuosa Michala Petri and renowned Japanese baroque harpist Marie Nishiyama unite to explore the expressive power of this timeless form.
Recorded, after a concerttour i Japan, including Suntory Hall, and just before the global lockdown at Chichibu Muse Park in Japan, the album presents intimate and evocative interpretations of works by Diego Ortiz, Alessandro Marcello, J.S. Bach, Erik Satie, and contemporary Danish composer Lars Hannibal, among others. The duo’s collaboration reveals the meditative beauty and subtle intricacies of their ancient instruments.

Her career began accidentally in 1959 when she replaced her sister at the last minute in a French radio talent contest Naissance d'une étoile (birth of a star) and won. Director Louis Malle then cast the young starlet in the film he was shooting at the time, Liberté, a project he finally abandoned, making Laforêt's first appearance on screen her turn opposite actor Alain Delon in René Clément's 1960 drama Plein Soleil. At the end of the 1960s, Laforêt had become a rather distinctive figure in the French pop scene. Her music stood out, perhaps too much for her new label CBS Records, which expected of her more upbeat, simpler songs. She was interested in making more personal records, but finally gave in. Although her most financially successful singles ("Viens, Viens", a cover of the German hit ″Rain Rain Rain″, and "Il a neigé sur Yesterday", a ballad about the break-up of the Beatles) were released in the 1970s, Laforêt progressively lost interest in her singing career, moving to Geneva, Switzerland in 1978, where she opened an art gallery and abandoned music.

Violinist Marie Nadeau-Tremblay presents Preludes et solitudes, a very personal album of pieces for solo unaccompanied violin by Baroque composers such as Telemann, Purcell, Torelli, Baltzar and Biber. The booklet for Preludes et solitudes includes Nadeau-Tremblay's poems inspired by each piece she selected for the program, and the album cover is a self-portrait by the violinist, who is also an accomplished visual artist.

For thousands of years, mankind has been concerned with the interpretation of dreams, seeking medical and philosophical explanations of all that happens to us during sleep. At the same time, the images of dreams – be they beauti-ful or terrible, like a "théatre imaginaire" – offer a rich playground for all branches of art.
Hypnos, son of night and darkness, is the god of sleep. As Ovid reports, his sons are the Oneiroi, the dream gods: Morpheus is able to take on human form, Phobetor, the horror, slips into the skin of wild animals, Phantasos appears in the form of inanimate nature. Hypnos’ realm is guarded by Hesychia (calm), Aergia (indolence) and Lethe (oblivi-on). While Hypnos is also called the “generous one,” his twin brother is Thanatos, the gentle death; often the two often appear together.

In the sunken lands of Arkansas along I-55, there’s a road sign that directs you to a pair of tiny, hardscrabble towns in the Delta. It reads: Marie/Lepanto.

England's Anne-Marie stormed the ‘10s charts with a slick but relatable package that blends rave-ready club bangers, searing vocal talent, and synth-heavy electro-pop. She revels in witty storytelling on “Boy,” its staccato hip-hop beats buffing up against her honeyed melodies, and Sean Paul/Clean Bandit collab “Rockabye” is a slamming summer anthem, all Caribbean beats and seamless pop production.

After the international success of “Vocation,” Marie-Luise Hinrichs again composed puristic impressions on songs by Hildgard of Bingen (1098–1179). She spans an arc to the present day and entrusts the flowing expanses of this music to her instrument, the piano. As if Hildegard of Bingen’s music was created for it, Marie-Luise Hinrichs improvises her own harmonies and melodies, devises new techniques – the plucking of the strings or tremolos on a single tone – and in this way lets her “piano songs” emerge. In addition, she performs compositions of the charismatic G. I. Gurdjieff, the founder of a spiritual system for the “inner evolution” of humankind. The award-winning pianist Marie-Luise Hinrichs has herself experienced the spiritual and healing effect of Hildegard of Bingen’s music. She conveys to today’s audience the especially intensive atmosphere of a mystical world of sound. Her playing is distinguished by an extraordinary sensitivity and an intimate, luminous sound. A subtle work of art that touches the soul!