Froberger was one of the most humane composers of the 17th century, and it would be a cold player indeed who did not respond to the searching expressiveness not only of his allemande-form meditations and lamentations, but of many other movements as well. Wilson does not fail them. A pupil of Leonhardt (himself a great Froberger player), he seeks a similar ‘delicate balance of freedom and rigour’, resulting in deeply considered interpretations, never hurried or frivolous, but with each note given proper placing and weight.
Bon Iver's Bon Iver is Justin Vernon returning to former haunts with a new spirit. The reprises are there – solitude, quietude, hope and desperation compressed – but always a rhythm arises, a pulse vivified by gratitude and grace notes. The winter, the legend, has faded to just that, and this is the new momentary present. The icicles have dropped, rising up again as grass.
Didier Lockwood signs, for his great phonographic return, an electroacoustic program of rare freedom. Coming from an unprecedented artistic collaboration, this record, which was recorded in a direct record, is above all the fruit of a collegiate experiment, in which the violinist crosses his bow with the indispensable tandem Charlier / Sourisse and Philippe Balatier, the Nojazz beatmaker. Spontaneous creation, collective musical emulation gives improvisation all its creative capacity in situ. Real space opera, the album that listens without pause, embarks the listener in an initiatory voyage in zero gravity, whose concept would be: to lose oneself to better find oneself.