Musique Hostel

Half Baroque, half contemporary, half French, half British: that is the challenge taken up here by Franck-Emmanuel Comte and Le Concert de L'Hostel Dieu. This recording presents in the same program pieces by Lully and by Purcell, together with contemporary creations by the Frenchman David Chalmin, inspired by Purcell, and by the British composer Martyn Harry, inspired by Lully. Both contemporary composers combine the sounds of Baroque instruments with their own expression, thus removing borders and engaging in a dialogue involving different periods and different languages. Axelle Verner lends her mezzo voice and unique personality to the vocal pieces in this program.

Born in the Prince-Bishopric of Liège, Antoine Gosswin was recruited at a very young age by the Bavarian court chapel, where he was in frequent contact with Orlando di Lasso and accompanied the Emperor Maximilian II on his travels. Esteemed as a singer and composer, he was also part of the violin band employed by Duke Albert V at the legendary wedding of Prince William in 1568. Gosswin would go on to conduct the chapel of Prince Ernest, Bishop of Freising and later of Liège, to whom he dedicated his Newe teutsche Lieder. Extremely prolific, Gosswin produced several masses and motets as well as madrigals and German songs in which he continued the musical developments initiated by his master Lasso.

The Dürrenmatt Project is the multifaceted tribute with which Facundo Agudín and Musique des Lumières want to vindicate the figure of a protean and committed artist: from Pflüger’s thrilling tragicomedy Jedes Kunstwerk ist apokalyptisch – oder Bach und Dürrenmatt (Every work of art is apocalyptic – or Bach and Dürrenmatt) to the sardonic and imaginative score of The Minotaure by Genessey-Rappo, passing through the discourse between the atavistic and the experimental of Respiro (Breathe) by Pérez-Ramírez and the mystical and textural sonority of Stoff by Sontòn Caflisch. These four scores highlight Dürrenmatt as a writer and a visual artist; in short, one of the most authentic and respected thinkers of the 20th century.

L'évolution de l'économie de la musique est retracée avec le passage du disque à la musique en ligne. L'auteur présente les changements des pratiques de l'écoute induites par le streaming, explique pourquoi les labels ont refusé d'utiliser le format MP3 comme mode de circulation et comment le téléchargement illégal s'est démocratisé à grande échelle jusqu'à devenir une pratique culturelle. …

Cet ouvrage traite de la musique des origines à nos jours sous ses principaux genres. Il aborde entre autres les compositeurs, les instruments, et les différentes formes musicales.
Il s’agit ici de la cinquième édition mise à jour de ce dictionnaire. …

Au lendemain du concert, triomphal au cours duquel Tinouga interpréta sa toute première chanson (voir l'album “La première chanson de Tinouga’”), notre ami muscardin s'est mis en tête de savoir tout sur la musique. La pie le présente au professeur Kardesoupir dans l'espoir de faire admettre son poulain dans la classe du si redouté maestro. Elle aura pris soin, avant d'entreprendre cette démarche, d'aider Tinouga à choisir son instrument. La présente histoire vous conte le parcours de Tinouga au conservatoire, de l'apprentis­sage à l'examen de fin d'année. …

Musique des Lumières commissioned five composers to create works based on the enigmatic poems of Joseph Brodsky, winner of the Nobel Prize for Literature in 1987, highlighted by the magical voices of soprano Laurence Guillod and baritone Pierre-Yves Pruvot. The resulting programme forms the latest edition of the «Music & Words» series, which commissions works inspired by great literary authors of our time. Following the editions on Julio Cortázar and Friedrich Dürrenmatt, Joseph Brodsky is the third album in this series. After the CD recording in collaboration with the label IBS Classical and the successful premiere in June 2022, Musique des Lumières is now embarking on a tour.

How to read Ronsard today? Simply aloud or in singing it, like back then. Because, for Ronsard, nothing is more obvious than to unite music and poetry: “I also want you to encourage you to pronounce your verses loudly in your room, when you do them, or sooner sing them, whatever voice can have. » Ronsard, Abbrégé de l’Art poétique françois, 1565 As soon as the collection of Loves was published, it was fashionable for a composer to set these poems to music. To quote the most famous: Goudimel, Certon, and of course Janequin. But long after death of the poet, many composers have continued to do so: Bizet, Saint-Saëns, Ravel, Poulenc… It is because Ronsard’s texts have no no age; Pick the roses of life today is a principle immortal. Julien Joubert reads poetry every day, aloud and even the most often while singing. It was therefore only natural that he lean on the work by Ronsard.

D’une époque considérée comme un des âges d’or de la musique en France, la Folle Journée de Nantes va célébrer cette année les plus beaux fleurons. Traversée par trois conflits majeurs, la période voit s’affirmer des esthétiques et des langages novateurs. La confrontation avec le grand voisin, l’Allemagne, révèle des admirations, des connivences et des oppositions qui animent un bouillonnement fécond. C’est aussi l’époque où se développent les grandes sociétés de concerts, les orchestres et où émergent des interprètes d’envergure. …