SWR Vokalensemble - SWR2 New Talent - COMPACT DISCS [CD]

She was Yves Saint-Laurent's muse, a prima ballerina and an immensely popular figure whose language made her a legend. Zizi Jeanmaire was a 20th century cultural icon, single-handedly representing the greatest years of music hall in France. These live sessions recorded at the Alhambra theatre in Paris in 1957 and 1961 show Zizi at the peak of her art, first with Michel Legrand's orchestra for her first great appearance, and then when she sang her famous number InchMon truc en plumesInch for the first time. It brought her fame and made her a timeless favorite with audiences everywhere. The Live in Paris collection by Michel Brillié allows listeners to hear previously-unreleased recordings (made at concerts and private- or radio-sessions) by the great 20th stars in jazz, rock & roll and song. These InchliveInch takes, and the artists' rapport with their audiences, gives these performances an additional soul and sensibility in counterpoint to the rigorous demands of studio recordings. Particular care was taken when restoring the sound of these tapes in order to meet modern standards while preserving the original colors of the period.

I need a musical discourse, Holliger once said. This is a good description of his characteristic way of composing. Unlike Boulez, he does not base his works on charts and tables, but neither does he employ carpets of sound in the manner of Ligeti or the Spectralists. Particularly in his vocal works, Holliger allows himself to follow the associations suggested by certain words, and these associations in turn generate still other connections. InchShir ShavurInch [The Broken Song] is the title of a cycle for choir that Holliger wrote based on 12 of David Rokeah's poems. The idea of discourse can be seen in the fact that Holliger set both the Hebrew and the German versions of the text. This principle is also evident in the different ways the choral forces are handled. There are antiphonal or double choir settings, but also responsorial settings for solo and choir. In InchUtopie ChorklangInch [Choral Sound Utopia], he divided the choir into three groups of twelve voices each. These three groups are InchtunedInch in different ways, like registers of an organ. The second group sings it's pitches, but the first group sings a third of a tone higher than written and the third group a third of a tone lower.

Carlo Donato Cossoni (1623-1700) was born into a family of musicians in the small town of Gravedona by Lake Como on November 10, 1623. By 1650 he was organist at San Fedele in Como, where he had previously been ordained priest. He published his op. 1 of two-part and three-part motets in Venice in 1665, and 13 further works followed up to 1679, all of sacred music. He bequeathed 54 sacred works to the Benedictine abbey of Einsiedeln (Appellato della Madonna de Valdo, InchOur Lady of the HermitsInch), and after his death in Gravedona they were added to the abbey library. Other Cossoni manuscripts have been preserved in Milan, Como and Bologna. The NOVANTIQUA Bern vocal ensemble was founded in 1987 by Bernhard Pfammatter to prepare sophisticated choral literature for concert performance by a small ensemble. The name NOVANTIQUA expresses the ensemble's commitment to the interpretation of early works alongside the performance of music from the 20th and 21st centuries. The Kesselberg Ensemble was founded in 2004 by Latvian musicians, all graduates of the Schola Cantorum Basiliensis. The ensemble chose the name InchKesselbergInch, Latvian Katlakalns, to celebrate the district of Riga where Johann Gottfried Müthel (born 1728 in Mölln, died 1788 in Riga) spent his later years. J.S. Bach's last pupil, Müthel was Latvia's greatest composer of the 18th century.