Le Concert Spirituel was essentially a Parisian concert series held at the Tuileries Palace, begun in 1725 as an opportunity for musical performances during Lent and other Holy Days when secular musical activities like opera were forbidden. The concerts continued until 1790, just after the beginning of the French Revolution. The music of French composers filled most of the programs, but German and Italian music was occasionally heard, and this CD includes five pieces by Corelli, Telemann, and Rameau that were known to have been played at the concerts. Jordi Savall and Le Concert des Nations, one of the many stellar ensembles he is responsible for founding, play these works with such surging vibrancy that anyone who thinks of the Baroque as a period of stiff formality would be disabused of that notion on hearing these performances.
BLOOD OF THE NATIONS is the twelfth studio album by German heavy metal band Accept. It is the band's first studio recording since 1996's Predator and the first album to feature vocalist Mark Tornillo and drummer Stefan Schwarzmann. It is the first Accept album without Udo Dirkschneider on vocals since Eat the Heat (1989), and the band's the first album to feature guitarist Herman Frank since Balls to the Wall (1983). Accept returned in 2010 with this superb slap of heavy metal. There is a definite old school vibe to the music, just as there should be. New singer Mark Tornillo is the ace in the sleeve. He has an excellent, raw voice that fits the music.
The 1991 French film Tous les matins du monde (All the Mornings of the World) attracted an audience of unexpected size for a story about French Baroque viol music, becoming a runaway hit in France and Germany and even gained wide distribution in the classical-chary U.S. The commercial ramifications grew with the release of the film's soundtrack, featuring early music giant Jordi Savall on viol; the soundtrack achieved platinum sales levels in its initial release. The film's story, built on a very few sketchy facts about the reclusive seventeenth century viol player known only as Monsieur de Sainte Colombe, drew viewers with its modern resonances touching on the conflict between art and popular success, and partly with its dramatic lighting reminiscent of the paintings of Louis le Nain. The soundtrack has a few pieces with vocals or with a small ensemble of other players.
Of all of the despots of our time, Joseph Stalin lasted the longest and wielded the greatest power. Conquest delves into his most jealously guarded secrets to reveal a living portrait of the paranoid leader.
Powerful living music from Native women in the United States and Canada includes performances rarely heard beyond these artists’ communities. Ceremonial and social songs traditionally sung by women, other music now performed by women, and material that combines traditional and contemporary themes and musical forms. Thirty-four selections present a seamless range of solo, choral, and instrumental pieces, forming pulsating and driving music, the heart of Indian Country. "A majestic offering."
Original released by Auvidis France in 1986. This reissue released by Auvidis-Naïve in 2000 (ES 9956). Couperin places himself between the Italian and French musical styles of his day to create something rather greater than either. For the most part early works, these sonatas with dance suites combine the style of Lully and Louis XIV's court with Corelli's brilliance: the result is a Grand Tour of the high Baroque, given, s'il vous plait, with a French accent. Savall's rendition, true to form, is dark, elegant, and supple. He assigns the trio-sonata texture to differing combinations of violins, oboes, and traversi, all with a large and inspired continuo group. Performers: Monica Huggett, Chiara Banchini, Ton Koopman, Hopkinson Smith, Stephen Preston, Ku Ebbinge &c. Highly recommended.