An uncomparable Italian band indeed, Saint Just played a weird mix of Ethnic music and Folk Rock with plenty of Classical passages, where folk atmospheres alternate with organ themes and piano passages all the time but occasionally supported by light electric tunes. The music is soft but rather dark with plenty of acoustic guitars and characterized by Jenny's Sorrenti poetic and haunting vocal lines. While the whole album flows in a relaxed mood,there are surprisingly lots of breaks and alternating ideas in almost every track,which makes ''Saint just'' a demanding release. Organs, pianos and saxes have a major role leading the way and the few electric parts are well-played yet quite smooth. Surprisingly the self-titled number of the album is entirely sung in French by Sorrenti in a theatrical way with a definite beauty surrounding this delicate track.
Saint Just was a seventies Italian progressive group but not really reminiscent of the typical Italian sound. Influences from folk, psychedelic and classical can be heard in their music. The most remarkable instrument in their music is the vocals of Jane Sorrenti that float above the music. Her vocal delivery is definitely an acquired taste. The group released only two albums and the line-up is very different in these two albums. In the 1st album there were only three official members of which the saxophonist Robert Fix was not included in the 2nd album. For their 2nd album the remaining members Jane Sorrenti and Antonio Verde (classical guitar, bass) added electric guitarists Tito Rinesi and Andrea Faccenda as well as a drummer Fulvio Maras.
Accusateur (féroce) non seulement de Louis XVI mais encore des Girondins, de Danton et des hébertistes, représentant (impitoyable) de la Convention aux armées du Rhin et du Nord, membre (inflexible) du Comité de Salut public et enfin victime (impassible) du 9 Thermidor, l'" archange de la Révolution " fut-il un terroriste fanatique ou bien un esprit généreux peu regardant sur les moyens ? Faut-il le ranger parmi les premiers fascistes, les précurseurs des socialistes utopistes ou les ancêtres des léninistes ? Véritable Janus entré en politique à vingt ans et mort à vingt-sept, …
Saint-Saëns's reputation rests on a few popular works–Danse Macabre, Symphony No. 3, The Carnival of the Animals–but his output was far more vast and varied than most people realize. The Third Violin Concerto is one of the great Romantic masterpieces for the instrument, yet it's much less popular than it once was. Whatever the reasons, they certainly aren't Itzhak Perlman's fault, for he simply plays the daylights out of both this piece and Lalo's ever popular Symphonie espagnole. I'm always amazed, when listening to the Saint-Saëns composition, just how well-written it is, and how good it always sounds. Perhaps his level of sheer craftsmanship was so high that people lose sight of the music's genuine inspiration.
Avant la prise de la Bastille, Saint-Just, jeune étudiant en droit, démontre dans un long poème satirique, Organt, "l'analogie générale des mœurs avec la folie". La Révolution sera pour lui une remise en cause non seulement du monde politique, mais de la condition humaine. Son ultime raison d'être, il la livrera quelques jours avant de mourir dans ces phrases célèbres : "Je méprise la poussière qui me compose… Mais je défie qu'on m'arrache cette vie indépendante que je me suis donnée dans les siècles et sous les cieux.
Saint Etienne's eighth record, Words and Music by Saint Etienne, is centered on a theme that has been part of their music since the group began. They've always been one of the most nostalgic groups around, draping themselves in the visuals, styles, and sounds of the past while still staying modern. They've rarely seemed to be touched by the past on a personal level, but now perhaps age and experience have given them a reason to look back at their own lives and do a bit of summing up…
This generous double disc survey of Saint-Saens' chamber music offers the listener over two hours of unalloyed pleasure and contains a judicious selection of works for various ensembles that range across his career - indeed the three sonatas for bassoon, clarinet and oboe respectively are very late pieces and were part of an intended series of such works for each member of the standard woodwind family, a project only curtailed by the composer's death in 1921.