Duo Imaginaire - Old New Borrowed Blue - COMPACT DISCS [CD]

Great works always attract artists of many different instruments, and for good reason - it is only then that they are illuminated in their full scope. New sounds and colors enrich the original material. The unusual combination of clarinet/basset horn and harp reveals a powerful emotionality to the listener and, particularly in Brahms's Intermezzi, highlights complex chamber music qualities already concealed within the piano version. Transcriptions, to which this is exclusively devoted, have never been uncommon. Since the original repertoire from this period for harp, both as a solo instrument and in chamber music works, is relatively limited, the literature for piano and for harpsichord holds a special appeal for harpists. In addition, it was a widespread practice with duo pieces at that time to print the piano part in an alternative version for harp. Due to technical limitations, many composers found no use for the harp. This changed, however, at the beginning of the nineteenth century when the piano and harp manufacturer Sébastien Érard invented the double-action mechanism, which made it possible to play in any key - just in time to avoid missing out on the increasingly chromatic music of the Romantic period. But the harp was not the only instrument that enjoyed it's heyday during Romanticism; it was during this era that the clarinet, too, flourished for the first time. Likewise, in the early nineteenth century, Iwan Müller designed the InchClarinette Omnitonique,Inch an instrument with thirteen keys; thanks to this innovation, the clarinet was now also able to play in every tonality. The clarinet is considered to be the wind instrument that comes closest to the human voice. Hector Berlioz praises it for it's Inchbeautiful instrumental sopranoInch and Incha middle register that is favorable to the expression of the most poetic feelings and ideas.Inch (Grand traité

2020 , an album of cover versions by the veteran singer/songwriter. More than four decades have passed since Steve Forbert made his way to New York City from Meridian Mississippi in quest of a career in music. It was the most unlikely time and place for a folksinger to leap into the fray in a burgeoning scene where new wave and punk were emerging. Forbert took the stage as an archetypal folkie, armed with just an acoustic guitar and sheaf of very personal songs. His career had it's share of triumphs as well as stumbles and disappointments as did his private life. Through it all, over the course of a marriage, divorce, raising three children, writing and recording 20 studio albums and fronting an ever-changing line-up of supporting musicians, he persevered and stayed true to his roots and the folk ethos.

Detriti da canti precari (2017), a cycle of 14 short pieces, is the result of a profound artistic dialog between the composer Filippo Perocco (*1972) and the Ensemble L'Imaginaire. It occupies an important place in the ensemble's repertoire and stands for collaboration driven by a shared passion for sound, friendship and freedom.