Elaboré par des professionnels, ce manuel permet de faire face avec pertinence, sur le plan matériel et psychologique, aux risques actuels, qu'il s'agisse d'attentats ou de catastrophes technologiques et naturelles. …
This 3CD set gathers the complete work by Luc Ferrari for films from 1960 to 1984 including electronic pieces, concrete music made in GRM and some hybrid including traditional instruments.
The music of Jean-Joseph de Mondonville, an immediate successor to Rameau and one of the most prominent members of the Parisian musical scene in the middle 18th century, has not been recorded often. He composed in the major genres of the day, including opera, grand motet, and trio sonata, but the odd little sacred motets featured on this album stand aside from all of these.
It's not clear why Telemann called these works "concertos" when they are really sonatas for transverse flute and harpsichord, with no tutti instrumental group involved. Annotator Jean-Claude Thériault works up an argument that it was due to the "concerted" nature of the music, with the flute and harpsichord playing generally equal roles instead of assigning ritornello-like music to the keyboard. It's hard to say whether he's right, but it's precisely the departure from the Baroque trio sonata and concerto models that makes this music so interesting. It is strikingly modern for the late 1710s, when the first edition of the music was published.
Unlike most of the music in the fabulous "ut pictura musica" series from France's Alpha label, that presented here is something of a speculative reconstruction. As one section of the complex booklet (in French and English) explains, English ensemble instrumental music of the late sixteenth and early seventeenth centuries might be played by either a "whole" (homogeneous) or "broken" (diverse) consort.