It's hard to imagine that a group as bottom-heavy as percussionist Pierre Favre's new ensemble could actually sound light and ethereal. But Fleuve does just that. With a septet featuring two basses, tuba/serpent, percussion and, at times, bass clarinet, there's no shortage of warmth and depth. But with guitar, harp and soprano saxophone fleshing out the middle and top end, Fleuve manages to have both weight and an airy ambience that works, in no small part, due to Favre's carefully crafted compositions and the kind of sonic transparency that's long been a defining aspect of the ECM aesthetic.
Johann Sebastian Bach played the violin “cleanly and with a penetrating tone…” At the time his son CPE Bach wrote this phrase to a musicologist and Bach’s early biographer Johann Nikolaus Forkel in 1774, the Sonatas and Partitas for Solo Violin were known to a relatively small but steadily growing circle of enthusiasts. Although the demand problem was eventually solved by the appearance of the first printed editions around the turn of the century, it took another five decades before Bach’s sonatas and partitas came to the attention of a broader public. Arrangements of the violin solos for other instruments offer new expressive opportunities. For this album, Florian Klaus Rumpf has transcribed and recorded the first three of the six violin solos for the mandolin. Florian Klaus Rumpf decided to begin studying mandolin at the age of seven. In 2006 Florian entered the University of Music and Dance in Wuppertal, where he studied the modern mandolin and a wide range of historical instruments, including the six-course Baroque mandolin and the 8-course mandolone. He is in high demand as a soloist, tutor, and conductor of mandolin orchestras.
Cet ouvrage, à vocation pédagogique est une initiation la philosophie du design. Son objectif est d'aider le designer dans la construction de son discours grâce à une démarche conceptuelle.
Published shortly after Franz Schubert's death in 1828, Schwanengesang is a collection of 14 lieder on seven texts by Ludwig Rellstab, six by Heinrich Heine, and one by Johann Gabriel Seidl, whose poem became Die Taubenpost, claimed to be Schubert's final song. Unlike most performances of Schwanengesang, which follow the published edition, baritone Florian Boesch's rearranged version on Onyx lacks Die Taubenpost, which was not included in Schubert's fair copy of the cycle. Instead, Boesch adds five songs on Sturm und Drang poems by Johann Wolfgang von Goethe, making this recording somewhat controversial among purists.