Mathieu Triclot

A celebrated child prodigy in ’30s and ’40s Paris and New York, Canadian pianist-composer André Mathieu fell into obscurity soon after his death at just 39. The music he left behind is breathtaking—concertos and symphonic works that mine a rich seam of Rachmaninoff, Ravel, and Poulenc. Alain Lefèvre made a celebrated recording of the Concerto No. 3 in 2017, but its arrangement here for two pianos reveals Mathieu’s genius for harmony and melody in fabulous detail. And genius is no exaggeration: Mathieu completed the concerto at 14. However, the dreamy, post-Impressionist orchestral Rhapsodie romantique, which opens this album, shows Mathieu at even greater creative heights. Mercier and Lefèvre’s performance of this two-piano version is mesmerizing.

Dans la vingtaine d'essais réunis dans ce livre, Mathieu Bock-Côté propose à la fois un tableau et une critique de ce qu'il considère comme le nouveau régime démocratique qui se met en place en Occident. Il aborde des sujets tels la théorie dite du genre, la prétendue " fin des idéologies ", le suicide assisté conçu comme un droit de l'homme et la célébration du " multiculturalisme "…

Stephan Mathieu & Ekkehard Ehlers - Heroin + Remixes (2003) {Orthlorng Musork ‎orth12.cd}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 457 Mb | MP3 @320 -> 219 Mb
Full Artwork @ 300 dpi (jpg) -> 5 Mb | 5% repair rar
© 2003 Orthlorng Musork ‎| orth12.cd
Experimental / Sound Art / Modern Classical / Electronic / Acousmatic / Reflection / Slow Listening

Orthlorng Musork are proud to re-release Stephan Mathieu and Ekkehard Ehlers' 2001 classic "Heroin", remastered and with an additional CD/LP of remixes by an all star line up of artists. First released on Brombron in 2001, "Heroin" was received with widespread critical acclaim, described as "a wondrous journey into a very warm, emotional soundspace" (Incursion Music Review) and "a beautiful (if mutant) remnant of pop sentimentality" (Aquarius Records). Recorded and produced in seven days between Christmas 2000 and the dawn of 2001, "Heroin" features a suite of recordings produced in Extrapool's typical rock'n'roll rehearsal space (think trash, beer cans and cigarette stubs - hence the title).

While the title or the front cover of this CD may not catch your attention right away don't miss it by any means - it is a mega lovely disc full of beautiful melodies, inventive harmonies and meserizing rythms that pull you in. The music is tonal, free-flowing and easy on your ears, but catchy and pungent at the same time. Tuneful works by Matthieu Lussier (b. 1973) (such as IMPRESSIONS DE L’ALAMEDA and ODD BIRD CONCERTO) are influenced by Baroque era, yet the harmonic language is quite contemporary while Michael Ochhipinti's (b. 1967) compositions are reflecting his Jazz leanings, particularly SICILIAN PROVERBS for trumpet, bassoon and string orchestra which brings to mind symphonic Jazz/big band sound. Colourful soloists Jackson and Few are shining throughout!

Written between 1887 and 1890, Gabriel Fauré's Requiem is among the best-loved pieces in the choral repertory. Traditionally, Requiems are serious, prayerful laments for the dead. Fauré's was altogether different. In place of the usual somber mood, his is noted for it's calm, serene and peaceful outlook. The composer revised and expanded the work several times, but it is the original version that is performed here using period instruments and performance practices. This sublimne recording, featuring Ensemble Aedes and Les Siècles led by Mathieu Romano, also includes Poulenc's Figure Humaine and Debussy's Trois Chansons

The ensemble Aedes began it's musical journey with Poulenc, under the impetus of conductor Mathieu Romano. Here, at the head of Les Siècles, Romano returns to the unclassifiable composer to record two of his major works. In the pious contemplation of the Litanies, here performed in the manuscript version, and the orchestral luxuriance of the Stabat Mater, spirituality is expressed through music that is lively, sensitive and even, at times, sensuous. Sculpting out every phrase and note, always at the service of the text, the ensemble and Mathieu Romano confirm their affinity with the composer's language. As an interlude Mathieu Romano has included a secular piece, O doulx regard, o parler gratieux, by the Renaissance composer Clément Janequin. The boundaries between earthly love and mystical love are thus abolished in favor of pure emotion.