Flore Laurentienne - 8 Tableaux - COMPACT DISCS [CD]

Digipak. Rooted in the Québec landscape and inspired by the vastness of the St. Lawrence River, Flore Laurentienne's music- a harmonious blend of strings and analog synthesizers-takes us on a journey to the edge of the sublime, where we find ourselves both fragile and powerful, suspended between vulnerability and wonder.On stage, Laurentienne comes to life through a core ensemble of seven musicians. At the center stands composer and keyboardist Mathieu David Gagnon, surrounded by a string quartet and two keyboardists-percussionists. Over the past five years, they have developed a rich shared experience of live performance, a natural rapport and an instinctive bond that nourish both the project and the composer's work. The power of the MiniMoog, the ensemble's emblematic instrument, combined with the richness of the strings, creates a captivating interplay that draws the listener into a unique and memorable experience. On Volume III, Mathieu David Gagnon and his Flore Laurentienne return to celebrate the magnificence of the river and it's floral and sylvan surroundings. It's an album to be enjoyed alongside it's two predecessors (Volume I and II), while also looking forward to the next step. Flore Laurentienne is constantly evolving, but from the beginning, the vision has remained the same to create music that is alive, true, human, and uncompromising.

Although almost completely forgotten today, Georg Wilhelm Rauchenecker was an exceptionally versatile musician of European stature as founder and conductor of the first professional orchestra of the city of Winterthur (1875), composer, ardent Wagnerian, city organist, music dealer and pedagogue, he left weighty and far-reaching traces in Germany, Switzerland and France. The two orchestral works presented on this album were written for InchhisInch Winterthur City Orchestra (as the Musikkollegium Winterthur was called until 2000), while the Oriental Fantasy is an early work by the 21-year-old. Rauchenecker's symphonic debut seems in some ways to have been his artistic calling card Few of his other works were performed as often, and the piece remained in the repertoire until at least 1932. Despite Rauchenecker's close contact with the works of the New German school and his personal acquaintance with Richard Wagner, this work shows the composer to be a preserver of the symphonic tradition. In a certain sense, the work speaks of a commitment to Inchabsolute music,Inch for programmatic allusions as well as explicitly coloristic instrumental effects are completely dispensed with. His technically extremely demanding Oriental Fantasy combines the virtuosic demands of a solo concerto with a rhapsodically free form, and was one of Rauchenecker's own showpieces as a violinist.

More than 50 composers from 13 different countries contributed to this collection of music with computers. Their pieces represent major directions of how avantgarde composers utilize the potential of new technology. Harmen de Boer clarinet / Taco Kooistraa cello / Yoko Abe, Rainer Boesch, Carlos Roque Alsina, Richard Teitelbaum, Adam Wodnicki piano.