The selections on this album of music by Estonian "holy minimalist" Arvo Pärt come from different phases of his career. One, the Solfeggio, dates from 1963, before Pärt abandoned serialism for his minimalist experiments; it was revised and simplified a good deal in 2008, however. The centerpiece (and finale), the Stabat Mater, was composed in 1985, and several of the shorter pieces date from the 2000s. The repertoire is divided between sacred choral pieces and short secular pieces of various kinds, all culminating in the giant, hypnotic, and virtually symmetrical Stabat Mater.
"These performances are notable for the blending of piano and strings into impeccably balanced textures. It’s an approach that’s better suited to the subtle Piano Quartet, a masterwork that owes much to classical models, than to the Piano Quintet. (…) These highly recommendable performances (…) join many other polished, modern accounts such as Takács/Hamelin and Mandelring/Le Guay that have been praised in these pages…" ~Fanfare
Pour ce 9ème album, le saxophoniste français Sylvain Beuf réunit autour de onze nouveaux titres originaux, et pour la première fois dans une formation «électrique» : le guitariste Manu Codjia, le bassiste Philippe Bussonnet et le batteur Julien Charlet. Un quartet de choc auquel se sont adjoints pour l'occasion les trompettistes Nicolas Folmer et Alex Tassel ainsi que le percussionniste ivoirien Thomas Guei.
Since 1996, during the height of the Provençal summer, the beautiful, historic city of Arles has hosted the Festival Les Suds - a joyous musical alchemy that combines singing, music and dance and both explores and redefines the cultural heart of southern Europe (and beyond). Over the course of a week, music from around the world resounds like a universal language. This deluxe, greatest hits package from World Village features highlights recorded over the festival's last decade.
Since the first performance of Le Martyre de Saint Sebastien on May 22nd, 1911, there has been much speculation about the reasons which could have led Debussy to compose incidental music for the play of Gabriele d'Annunzio and about the validity and authenticity of the musical work. Granted, the circumstances in which the piece was created are grounds for suspicion.
“Carmelite Vespers 1709” presents a reconstruction of musical performances in Rome in 1709, based on a new critical edition by Italian Handel expert Angela Romagnoli. In early 18th century-Rome the holiday of Madonna del Carmine was celebrated with a lavish musical pasticcio. Italian Early Music specialist Alessandro de Marchi, his Academia Montis Regalis and an excellent ensemble of solo vocalists present the reconstruction of such a service as it might have been performed in 1709 under the direction of Venetian master Antonio Caldara (1670–1736). The programme combines lesser-known but stunningly beautiful pieces by Caldara himself with famous motets by his predecessor Handel such as “Dixit Dominus” or “Laudate pueri”.