Hervé Niquet – ici sans son ensemble Le Concert spirituel – réserve aux discophiles curieux une nouvelle découverte musicale, en la personne de François d'Agincourt. Mais qui était donc ce Monsieur d'Agincourt, dont on ne retrouve guère de notices biographiques dans la plupart des encyclopédies dédiées à la musique ? Né en 1684, mort en 1758, il fut la gloire artistique de la ville de Rouen où il tint les orgues de la cathédrale rien moins que cinquante ans, fonctions accaparantes qu'il cumula néanmoins avec celles d'organiste de l'abbaye royale de Saint-Ouen, puis de Saint-Jean de Rouen, tout en étant l'un des musiciens officiels du roi. Sur les grandes et belles orgues Tribuot, Hervé Niquet ressuscite un pan inconnu de notre patrimoine artistique, avec ces Dames de Saint-Jean, auxquelles il insuffle une vitalité et une profondeur de bon aloi.
These seven discs recorded between 1995 and 2000 make up a fabulous anthology of early seventeenth-century Italian music. A large number of composers are gathered round the central figure of Claudio Monteverdi; while some of them, like Salomone Rossi, Biagio Marini and Dario Castello, are among the musicians with whom he worked in Mantua or Venice, others illustrate the extraordinary musical creativity of the period, whether it be Sigismondo d’India, Tarquinio Merula, Francesco Cavalli, Alessandro Grandi, or so many other lesser-known personalities, each of whom helped to build the rapidly growing edifice of Italian Baroque music.
Britney Jean is Britney Spears' eighth studio album and was released in late fall 2013. The album has been described by Spears as the most personal record from her catalog yet, and features collaborations with numerous producers including Sia Furler, will.i.am, William Orbit, and Naughty Boy. Spears co-wrote each track on the album, which is a concept album about the loneliness of pop life. Two singles have been released thus far, "Work Bitch" and "Perfume".
André Campra's "Tancrède" is something of a "missing link", connecting the 17th century stage works of Jean-Baptiste Lully and his frustrated rival Marc-Antoine Charpentier with the late baroque works of Jean-Philippe Rameau. "Tancrède" was given its premiere in 1702 and was repeated again and again on the Paris stage. Even in the 1760's, when Rameau's "Les Boréades" had to be abandoned because of the death of the composer, it was Campra's "Tancrède" that the directors of the Paris Opéra chose to put back on stage because of its popularity.
France’s leading young harpsichordist performs works by two masters of the French Baroque. No surprises there, perhaps … but the harpsichordist in question is Jean Rondeau and the album is called Vertigo. It conceives the harpsichord in vividly theatrical terms. Vertigo takes its name from a dramatic, rhapsodic piece by Joseph-Nicolas-Pancrace Royer, who, along with Jean-Philippe Rameau, forms the focus of this album. If Rameau (1683–1764) is the better-known composer today, especially admired for such operatic masterpieces as Hippolyte et Aricie and Platée, the younger Royer (1705–1755) was also a major figure in his time, rising to become master of music at the court of Louis XV. Both Rameau and Royer excelled in keyboard music and in works for the stage. As Jean Rondeau says: “These two illustrious composers battled for the top spot at the Opéra.” He describes them as “two magicians, two master architects, amongst the most wildly imaginative and brilliant of their era … Two composers who also tried to capture echoes of grand theatre with the palette offered by their keyboard.