Chantres du Centre de Musique Baroque de Versailles - Renaud - COMPACT DISCS [CD]

Andre Cheron was an influential musical personality in Paris during the mid-eighteenth century. He worked at the Paris Opera as a harpsichordist and inspecteur de l'orchestre de l'Opera. In this capacity he supervised several premieres of Rameau's operas and the controversial performance of Pergolesi's intermezzo La serva padrona. With his 1729 sonata collection, André Cheron (1695-1766) cultivates the InchCorelliInch notation, which was so highly regarded in the French Régence. Ensemble Matis is made up of young musicians of various nationalities who originally met at the Escola Superior de Musica de Catalunya in Barcelona, and ultimately came together to form the current group at the Schola Cantorum Basiliensis in Basel. Since the ensemble's inception in the autumn of 2012, they have worked together intensively in formations contingent on the repertoire and have attempted to share and expand upon their experiences in their joint music-making. With Japan, Switzerland, and South Kroea, many different cultures are represented in the ensemble, which enriches and consistently makes the collaboration exciting. The ensemble has specialized in the performance of Baroque chamber music and, as the name InchMatisInch implies, pays special attention to small details, nuances, and timbres in the music and in ensemble playing. The ensemble's goal is to bring the music with it's wealth of color closer to the audience and to bring to life different expressive values.

(2-CD set) The Ensemble Jehan de Channey revives the extraordinary opulence of the music from the Middle Ages and Renaissance. This is a representative collection from this period which gave rise to the notion of works, writers, musical notation and music with instrumentation and singing. A step back in time to the days of troubadours and Fine Amor.

Limited transparent red colored vinyl LP pressing of this album from the Swedish band. Gothenburg's Makthaverskan have always seemed to escape traditional genre definition. As Pitchfork wrote of their 2017 LP Ill, they are a band that makes Inchmusic for the marginsInch - and such has been the case since these former schoolmates founded their band (the name of which roughly translates to Inchpowerful womanInch) over a decade ago. Their fourth full-length album För Allting (which translates to InchFor EverythingInch) follows a 2019 two song single InchDemands/OnkelInch as well as their aforementioned third LP, and continues right where those songs left off at the intersection of blissful pop and angst-ridden post-punk. The divide is clear between these two influences from the start - the simmering synth drone of the untitled intro track explodes into InchThis Time,Inch a tune carried by the Johnny Marr-inspired guitar work that shines throughout, followed directly after by InchTomorrow,Inch a track that allows vocalist Maja Milner's one-of-a-kind voice to shine. The mood shifts drastically on the song InchLova,Inch with a dark drum and bass beginning fitting for any one of Bauhaus' albums, with Milner haunting the song throughout with the lamenting lyrics repeating, Inchyou used to be mine...Inch This tension continues throughout the record, but the band's ability to twist a myriad of references into one cohesive whole makes For Allting uniquely suited to a modern music landscape This is dream-pop for realists, unafraid facing the contradictions between beauty and rage and turning them into something completely new.