Victor

Victor Feldman's one Riverside date as a leader (which has been reissued on CD) features him playing piano on five songs and vibes on four others (three of which add Hank Jones on piano). Joined by bassist Sam Jones and drummer Louis Hayes (both of whom were at the time, with Feldman, the rhythm section of the Cannonball Adderley Quintet), Feldman is in excellent form on a straight-ahead set. The trio/quartet performs five standards that for the most part are not overly familiar, plus four of the leader's originals. Tasteful and swinging music.

Anton Rubinstein was born in a village on the border between the Ukraine and Moldavia, but his family moved to Moscow as early as 1831, where his brother Nikolai was born. The two brothers received their first music lessons from their mother, but in 1837, Anton began to study with the best music teacher in Moscow. By the age of five, Nikolai had produced his first composition. B

Retranscription du premier chapitre du troisième livre du roman, dans lequel se trouvent une description de la cathédrale et un plaidoyer pour la préservation du patrimoine architectural. Le texte est accompagné d'illustrations et de photographies anciennes ou contemporaines. …

Piazzolla, Castelnuovo-Tedesco, Bettinelli: the fil rouge that unites this apparently anomalous choice is to be sought, first and foremost, in the original character of the repertoire, composed purposely for two guitars, in other words conceived especially for this combination and for its ‘double’ and ‘specular’ sonic possibilities. This exploration of the sonic universe allows us to rediscover a repertoire whose leitmotiv can be found in the element of dialogue, in the capacity of the guitar to become ‘other’ than itself by reverberating in its own identity: the mirror image that reflects a vision that is identical and yet filtered by a reality, that captures the essence of the guitar duo as an extended form of the solo guitar, a vehicle of complementarity and of expression amplified in its sonic potential. But that is not all: the choice of three composers whose expressive forms differ widely from each other, in their genesis, in their syntax and realization, can nonetheless find coherence in their common search for a balance between the voices, in the crystalline clarity of the conduct of the parts and in the sonic representation of a singular unitarity, in an accomplished identity of intent.

"Clair Obscur (Alpha 727), dedicated to German lieder with orchestra, explored the antagonism between light and shadow. Reflet conjures up the nuances and transparencies of French melodies. There is in reflection the idea of an echo, the shadow of a disquieting double, of a plural, diffracted sparkle… A clash of deceptive mirages, a kaleidoscope of senses and flashes of light, it interweaves in strange parallels the score of our lives, adorned with gold and illusions", writes Sandrine Piau.

Reiner's classic account of Tod & Verklärung is no doubt one of the most sublime and richly expressive versions on record, and can stand test of time, a kind of performance which never loses freshness. Each time you listen, there's something new to discover.

With this new b*records release, Victor Julien-Laferriere and the Orchestre Consuelo lay the foundation for a titanic edifice: the complete nine symphonies of Ludwig van Beethoven. Supported by the Festival de la Chaise-Dieu, which lends the exceptional acoustics of its abbey church, this four-year project marks a decisive step for the young orchestra of variable geometry. Composed mainly of chamber musicians, the ensemble forges a meticulous and passionate collective identity in this first opus dedicated to Symphonies no. 1, no. 2 and no. 4, which already bear witness to the search for comprehensibility and universality of language characteristic of Beethoven's symphonic corpus.