The Odds Enfant de Lucifer

Commissioned by the Comte d’Ogny for the Le Concert de la Loge Olympique, the ‘Paris’ Symphonies form a key milestone in Haydn’s output.

Another recording of The Four Seasons? A year after ‘Concerti per una vita’, the orchestra of Le Consort, in the course of its exploration of Vivaldi, reveals the many facets of this inexhaustible cycle. To achieve this, Théotime Langlois de Swarte has held up a subtle mirror to other works by the ‘red-haired priest’. All of them perpetuate the seasons in their own way, through shared memories and impressions; in the background Lambranzi's Venetian dances complement this musical picture awash with colours!

We’re delighted to present Circles - The Ultimate Fleur De Lys - a definitive compilation centred around one of the greatest 60s bands.

Another recording of The Four Seasons? A year after ‘Concerti per una vita’, the orchestra of Le Consort, in the course of its exploration of Vivaldi, reveals the many facets of this inexhaustible cycle. To achieve this, Théotime Langlois de Swarte has held up a subtle mirror to other works by the ‘red-haired priest’. All of them perpetuate the seasons in their own way, through shared memories and impressions; in the background Lambranzi's Venetian dances complement this musical picture awash with colours!

Pierre de la Rue wurde möglicherweise um 1452 in Doornik/Tournai im heutigen Belgien geboren. Dort arbeitete sein Vater Jehan als Illuminator (Buchmaler), seine Mutter, Gertrude de la Haye, stammte ebenfalls aus Tournai. Im 15. Jahrhundert waren dort beide Familiennamen geläufig. Wir nehmen an, dass Pierres Ausbildung, besonders als Musiker, mit einer Verbindung als Chorsänger an der berühmten Kathedrale der Stadt anfing. Als solcher bekam er dann, wie dort alle Chorsänger, die Tonsur. Wenn so, dann war das die erste entscheidende Situation seines Lebenslaufs, den er letztlich als Diaconus beschließen sollte. Zum Priester wurde de la Rue anscheinend nie geweiht.

For the upcoming 500th anniversary of the death of the great Franco-Flemish composer Pierre de la Rue (around 1460-1518), the vocal ensemble The Sound and the Fury, which specializes in early music, has recorded a selection of the composer’s artistic masses for the label FRA BERNARDO, which impressively reflect the high standard at the court of the music-loving and music-savvy Margaret of Austria. The Pierre de la Rue masses on this recording have one thing in common: they are all based on monadic models, thus in keeping with the most traditional of cyclic mass composition models, the cantus firmus mass.

Vivaldi and the violin concerto? Vivaldi is the violin concerto! One must get past the cliché (‘Vivaldi composed the same concerto 500 times’) to understand the extent to which composer, instrument and genre form an indissoluble whole; and that is what Théotime Langlois de Swarte and the musicians of Le Consort have set out to do. From his early youth in Venice to his last days in Vienna, the ‘red-haired priest’ pushed back technical and academic boundaries, constantly creating new narrative forms: the journey of a lifetime.

When Omar Rodriguez-Lopez and Cedric Bixler-Zavala silenced At the Drive-In in the midst of its popular emergence, there was no question that the two artists would return with new music as exciting as their previous band. However, there was plenty of discussion in corners and over drinks about what, exactly, that music would sound like. It was clear that much more was happening under those Afros than biting, post-hardcore anthemics laced with psychedelia. In 2002, Rodriguez-Lopez and Bixler-Zavala returned with the single "Tremulant," attributed to their new project, the Mars Volta. Its shifting soundscapes were certainly a hint, but with the Mars Volta's ambitious De-Loused in the Comatorium, it's clear the ATDI expats' mushroom-headed hairstyles hide bulging brains that pulsate with ideas, influences, and a fever-pitch desire to take music forward, even if they're occasionally led too far afield for the audience to follow…