Renard Tortue du Nouveau

"LE BEST-OF EVENEMENT QUI CELEBRE 50 ANS D'UNE CARRIERE EXCEPTIONNELLE Les qualifi catifs ne manquent pas : monstre sacré, légende, monument de la chanson française. A 70 ans, et à l'aube de performances exceptionnelles à l'OLYMPIA DU 8 AU 17 FÉVRIER, Serge Lama nous offre un BEST-OF EXCEPTIONNEL DOUBLE CD 36 TITRES INCLUANT : Ses PLUS GRANDES CHANSONS RE-ENREGISTREES VERSION 2012 (Je suis Malade, D'Aventure en Aventure, Une Île, .) 4 INÉDITS : LES 3 TOUTES PREMIÈRES CHANSONS qu'il a écrites alors qu'il n'était qu'adolescent, enregistrées pour la première fois et UN TOUT NOUVEAU TITRE." (amazon.fr)

Michel Corrette was a French organist and composer with a long and prolific career. The two works here were composed 47 years apart, and the earlier Nouveau Livre de Noëls is not even an especially early work of this little-known composer. Despite the time difference, they don't differ sharply in style. The Messe pour le temps de Noël, composed in 1788, shows few traces of Classical-period opera or even of the late Baroque Italian vocal style, even though Corrette wrote a pedagogical work instructing his readers in the fine points of Italian music.

Almost overnight, the success of Ottmar Liebert's groundbreaking 1990 debut Nouveau Flamenco catapulted Higher Octave Music into one of the industry's top indie labels and introduced the instrumental world to a fresh, exotic sound unlike any other…

The eighteenth century is probably the most extraordinary period of transformation Europe has known since antiquity. Political upheavals kept pace with the innumerable inventions and discoveries of the age; every sector of the arts and of intellectual and material life was turned upside down. Between the end of the reign of Louis XIV and the revolution of 1789, music in its turn underwent a radical mutation that struck at the very heart of a well-established musical language. In this domain too, we are all children of the Age of Enlightenment: our conception of music and the way we ‘consume’ it still follows in many respects the agenda set by the eighteenth century. And it is not entirely by chance that harmonia mundi has chosen to offer you in 2011 a survey of this musical revolution which, without claiming to be exhaustive, will enable you to grasp the principal outlines of musical creation between the twilight of the Baroque and the dawn of Romanticism.

If you like your Rameau big, strong, and in your face, this disc of the French Baroque composer's Piéces de clavecin en concerts performed by Baroque Nouveau recorded and released by Reference Recordings will be the disc for you. Sixteen movements from five of the composer's concerts are included here: dances such as the Second Concert's Minuet and the Third Concert's "Tambourin," character pieces such as the Fifth Concert's "La Cupis" and the Fourth Concert's "L'Indiscrète," and musical portraits like the Fifth's "La Forqueray" and "La Marais." Whatever its type, every movement here receives an extremely powerful performance from the West Coast-based Baroque Nouveau.

Magnesis has perpetuated for more than two decades a certain French tradition of dramatic and sophisticated songs that was so well embodied by Ange in the Seventies. Vocalist Eric Tillerot and his band of merry troubadours have developed a significant discography, including epic concept-albums evolving between songs, medieval universe and Progressive rock.