Nus

Love variations: The variant, and its corollary the variation, inseparable from the Middle Ages, have established themselves, particularly since Eloge de la variante (In praise of the variant) by Bernard Cerquiglini and the term of “mouvance” (mobility) inaugurated by Paul Zumthor, as genuine writing processes. Extending them to the musical field sounds quite obvious, and allows us furthermore to apprehend the modes of transmission and circulation of the medieval melodic repertoires.

A project started by Christopher Bleckmann and Hannes Wenner, whose minimal recordings for M-nus / Detroit added some new aspects to the minimal techno-world. Keeping the faith to minimal sound-structures, Clubsessel combines rhythm-pattern which may appear simple with deep pad-sounds and noisy ambient soundscapes. The club is always part of the music but more in the background, like a memory. Steady live editing and mixing of sounds while recording add an live-performance-like atmosphere to the tracks. One part of each track coming from the machines, the other coming from the hands of the producers, Clubsessel comes with the human touch of a live-recording-session in this slowly developing soundscapes. Somewhere between noisy ambient and minimal techno Clubsessel finds its own way of sound.

Claude Debussy (born Achille-Claude Debussy) was among the most influential composers of the late nineteenth and early twentieth centuries. His mature compositions, distinctive and appealing, combined modernism and sensuality so successfully that their sheer beauty often obscures their technical innovation. Debussy is considered the founder and leading exponent of musical Impressionism (although he resisted the label), and his adoption of non-traditional scales and tonal structures was paradigmatic for many composers who followed. The son of a shopkeeper and a seamstress, Debussy began piano studies ……..
From Allmusic

Ce cd est extrait du somptueux coffret "L'original, 15 ans déjà" de 2002. Il contient plusieurs vraies chansons à texte, surtout des années 70, qu'a été l'a'pogée de sa carrière. On y retrouve du Brel, du Ferré, du Lama, du Gainsbourg ("Je préfère naturellement", ce n'est pas vraiment une chanson à texte, cela parle des Beatles et c'est devenu une chanson bien datée, malheureusement, puis l'accent angalis que Dalida se force est quelque peu énervant)…

Felix Draeseke - Symphony No.1 op.12 & Piano Concerto op.36
Claudius Tanski, piano / Wuppertal Symphony Orchestra / George Hanson
EAC+LOG+CUE | FLAC: 287 MB | Full Artwork: 104 MB | 5% Recovery Info
Label/Cat#: MDG "Gold" # 335 0929-2 | Country/Year: Germany 1999
Genre: Classical | Style: Romantic, Piano, Symphony

"Felix August Bernhard Draeseke was a composer of the "New German School" admiring Liszt and Richard Wagner. He wrote compositions in most forms including eight operas and stage works, four symphonies, and much vocal and chamber music.During his life, and the period shortly following his death, the music of Draeseke was held in high regard, even among his musical opponents. His compositions were performed frequently in Germany by the leading artists of the day, including Hans von Bülow, Arthur Nikisch, Fritz Reiner, and Karl Böhm. However, as von Bülow once remarked to him, he was a "harte Nuß" ("a hard nut to crack") and despite the quality of his works, he would "never be popular among the ordinary"." ~Wikipedia