ARTISTS
Custódio Castelo, portuguese guitar
Ricardo Dias, piano
Alexandre Silva, guitar
Fernando Maia, bass guitar
Miguel Carvalhinho, classic guitar (Choro)

Each of Cristina Branco's albums contains, in a more or less conscious way, the germ of the one that follows it: Sensus, the last disk by the Portuguese singer, was the exploration of the erotic vein that touched on the field of a song in the work before it, Corpo Iluminado.

Ulisses well deserves its name: UlIsses evokes voyages, adventure, wandering, love, leaving, returning. The myth of UlIsses could have been the origin of the Portuguese Saudade, this fatalistic nostalgia, marked by waiting, so linked with the sea and the uncertainties it generates.

Digi Pack includes a 16 page booklet plus exclusive audio, video, photos & poem 'Ulysse' by Lord Alfred Tennyson via Opendisc technology.

Non SACD version available locally - 9820898; see Jazz - Releases for more details.

MUSIC FROM THE COAST AND THE FOUTA DJALLON

A film by Yves BILLON and Robert MINANGOY (55')

The Republic of Guinea is privileged by its diversity: alone, the country is capable of showing the original characteristics of numerous African musical cultures.

The journey begins in Conakry, with Soussou orchestras and soloists, and continues along the coast to the north.

The Baga and Landouma populations produce their masks to the rhythm of the seasons and agricultural tasks. In the Tenda country, various groups, Cognagui in the plains, Bassari in the hills, develop genuine musical theatres to celebrate the initiation of their children.

Lastly, the foothills of the Fouta-Djallon, the land of the now sedentary Peuls. The Griots have the privilege of song, and are particularly fond of flutes and instruments made from calabashes.

MUSIC OF THE FOREST AND HIGH GUINEA

A film by Yves BILLON and Robert MINANGOY (54')

The town of Niani, long the capital of the Mandingo Empire, was situated in what is today the Republic of Guinea. The Griot families, including the Kantés and the Kouyatés, have jealously guarded the musical traditions of their ancestors. They still sing today of the epic adventures of their Empire.

The sosobala, the authentic balophone of Emperor Soumaoro is unveiled for the first time by the eldest of the Griots of Nyagassola. The Guinea Highlands presents its village music-culture with pride in its history, in which vocal expression remains dominant.

Lastly, the forest, standing apart from Islam, reveals its sedentary Negro cultures.

BENARES: according to some, the oldest city in the world, the crossroads of all Indian cultures, and a Mecca for pilgrims for 2500 years.

USTAD BISMILLAH KHAN: an exceptional musician. Although influenced by Indian musical traditions, and respectful of classical forms, he succeeded in transcending the shehnai.

THE SHEHNAI: an astonishing oboe, until now restricted to the modest role of a processional instrument, making it the vehicle for works of inspiration that are without concessions, universal

'The Pensioners of Santiago' is probably one of Cuba's most authentic groups.

It is living proof that this rhythm typical of the 'Este' has managed to preserve a vigour and freshness anchored in the day-to-day life of Santiago.

It was in 1994 that Mario Carcasés Amabile, aged 75, found himself at home enjoying a double retirement - the first as a former slaughterhouse butcher, the second as a singer in the 'Sanes de Orunte' group. He refused to accept the retirement that was forced on him, and convinced his musician friends to join him.

They rehearsed for three months at Mario's house, and their first concert was for Channel Télé Turquino , the local television station in Santiago de Cuba. It was a success. After their performance, on the way back home, people recognised them and congratulated them. Once back in their quarters, the welcome was even greater...

Fado is a song that is possessed by the listener.

For centuries, Fado has spoken of Portugal through the sentimental history of its people.

Stepping forward to meet it - through its history, its rituals and its protagonists - is to discover the most living demonstration of the soul of the Portuguese people.

Taking time to listen, in a 'Tasca' - a tiny, popular restaurant - in Lisbon, is to feel a perceptible emotion that goes way beyond the banks of the Tagus.

RELIGIOUS MUSIC AND SUFI MUSIC

A film by Yves BILLON (54')

In the course of their meetings, Sufi practitioners, principally Shiite, listen to the poems sung by their masters, the 'Qhawali'.

This traditional music, enriched by new literary and musical elements, has become Pakistan's most popular genre. Today, masters such as Nusrat Fateh Ali Khan or Pataney Khan are the greatest heirs to the tradition. These artists sing principally the praises of the Prophet and his saints.

During our journey, which has taken us from the countryside to the cities, from the Sind to the Punjab, we've been able to catch them unawares, surrounded with the fervour of a whole people, and record them, not only in mausoleums but also in marriage-ceremonies and others both public and private, in the entire spontaneity of their art.

MUSIC OF BALUCHISTAN

A film by Yves BILLON (53')

The people of Baluchistan occupy a vast territory that covers the western half of Pakistan. The Baluchistanis, a nomadic people, roam between the Afghanistan frontier, the Khôrasân and throughout the Persian Gulf.

Converted early to Islam, the people of Baluchistan have remained loyal to the Sunni faith in its strict yet tolerant form.

This film is a journey through the lunar landscapes of this planet in long stages, covering not only the negroid, Makrani ethnic group from the coast, but also the mountain Dervishes.

There is a tradition of exorcism by trance revealed to us by certain nocturnal ceremonies.

Yet the magic of the music and the charm of the musician still weave their spell in this country, whose music has been filmed for the first time in its raw state, at the heart of these spontaneous events.

ARTISTS
JIAN WANG, cello

• The Six Suites for solo Cello by J.S. Bach undoubtedly belong to the heart of the classical repertoire with a strong appeal to a less core-oriented audience as well
• Jian Wang is a well-known face in concert halls all over the world - his performances as concert soloist and chamber player are regularly greeted with excellent reviews
• The stylish yet simple cover stands out and gives a clue as to what makes this Bach recording so special
• This recording combines the timeless modernism of Bach's solo suites, performed in a thoughtful, almost meditative style, with the strong personal background of an interesting young musician
• This is a calling-card recording of exceptional quality which with your support will easily increase Jian Wang's level of popularity in your market

LOCAL RELEASE: March

ARTISTS
Hilary Summers, mezzo-soprano [Le Marteau sans maître]
Ensemble Intercontemporain

LOCAL RELEASE: March

ARTISTS
Paavali Jumppanen, piano

LOCAL RELEASE: March

CD 1
[1] Sì. Mi chiamano Mimì (Puccini La Boheme ) BP/Von Karajan
[2] Mario! Mario! Mario! Son qui ... Ah! quegli occhi Qual occhio
[3] Vissi d'arte (Puccini Tosca ) NPO/Rescigno
[4]-[5] Viene la sera ... Vogliatemi bene
[6] Un bel dì, vedremo
[7] 'Con onor muore' ... Tu? tu? Piccolo Iddio! (Puccini Madama Butterfly ) WP/Von Karajan
[8] In quelle trine morbide
[9] Sola, perduta, abbandonata (Puccini Manon Lescaut ) PO/Sinopoli
[10] Tu che di gel sei cinta (Puccini Turandot ) PO/Sinopoli
[11] Ebben? Ne andrò lontana (Catalani La Wally)
[12] Poveri fiori (Cilea Adriana Lecouvreur) OTF/Roberto Abbado
[13] S'allontanano alfine ... Selva opaca (Rossini Guglielmo Tell ) NPO/Chailly
[14] Qual fiamma avea nel guardo ... Stridono lassù (Leoncavallo Pagliacci ) NPO/Patanè

CD 2
[1] Ritorna vincitor! (Verdi Aida) ·
[2] Ecco l'orrido campo (Verdi Un ballo in maschera)
[3] Tu che le vanità (Verdi Don Carlos)
[4] Mia madre aveva una povera ancella ... Piangea cantando nell'erma landa (Willow Song)
[5] Ave Maria (Verdi Otello) PO/Sinopoli
[6] Come in quest'ora bruna (Verdi Simon Boccanegra ) OTAS/Claudio Abbado
[7] Sul fil d'un soffio etesio (Verdi Falstaff ) Orchestra RCA Italiana/Solti
[8] L'altra notte in fondo al mare (Boito Mefistofele ) NPO/De Fabritiis
[9] Puskai pogibnu ya, no pryezhde (Letter Scene) (Tchaikovsky Eugene Onegin ) Staatskapelle Dresden/Levine

The great Italian soprano Mirella Freni celebrates her 70th Birthday on February 27th 2005 .

2005 also marks 50 years since Freni's debut in Modena as Michaëla ( Carmen )

This 2CD set (at two-for-one price) includes some of the greatest performances every recorded by both Decca and Deutsche Grammophon

Favourite soprano arias from Madama Butterfly, La Bohème, Tosca, Aida, Otello, Eugene Onegin and many more best-loved operas...

A much-loved and very popular artist, Freni has recorded a substantial discography for a variety of companies and among her most important recordings are those on Decca and Deutsche Grammophon. The selection of scenes and arias included in this 2-CD programme showcase her in many of her finest recordings which range from her portrayal of Nannetta ( Falstaff ) recorded with Sir Georg Solti in 1963 and the role with which she made her Covent Garden debut (in 1961), through to the Catalani and Cilea arias recorded with Roberto Abbado in December 1990. Also included are her classic portrayals as Mimì ( La Bohème ) with Herbert von Karajan (the role with which she made her La Scala debut in 1963 in Zeffirelli's production ( with Von Karajan conducting) and New York MET debut in 1965), and Amelia ( Simon Boccanegra ) with Claudio Abbado in an excerpt from the legendary recording made with La Scala forces.

As her career developed Mirella Freni continued to add other roles to her repertory and these included Cio-Cio San ( Madama Butterfly ) -- she is heard here in excerpts from Decca's 1974 recording with Von Karajan. Other Puccini roles include Tosca and Manon Lescaut, while Verdi is further represented in a selection of arias made in the late 1980s with Giuseppe Sinopoli. During the 1980s she also added roles such as Tatiana ( Eugene Onegin ) -- heard here in the famous 'Letter scene' -- to her repertory, while other verismo additions include Adriana Lecouvreur and Fedora

LOCAL RELEASE: March

ARTISTS
Andrés Segovia, guitar

TRACKLISTING
Joaquín Rodrigo: Fantasía para un gentilhombre for Guitar and Small Orchestra
Manuel Ponce: Concierto del Sur
Luigi Boccherini: Cello Concerto in E major (Arr. Gaspar Cassadó)

• After releasing the very successful Segovia Collection 4 CD set, there were many requests to make the CDs available singly. So here are the single releases which allow any collector and guitar fan to update his/her collection selectively.
• This CD features Segovia's complete late concerto recordings, including Boccerini/Cassadó which appeared on CD only in the 4-CD collection before and is now available singly for the first time.
• Andrés Segovia (1893-1987) was an extraordinary musician. He was among the first classical artists to have a really international career and did a lot to popularise the instrument. His name is still today synonymous with the guitar. Many guitarists, including pop and jazz musicians, see him as an exemplary artist. Segovia was also a great arranger as you can discover for example in the virtuoso transcription of Bach's famous Chaconne for Solo Violin.
• The recordings date from the 1950s and 1960s, the majority were made in Stereo. All recordings have been newly remastered at 96 kHz / 24 bit.
• 'Allow me to say with pride that the guitar by being deeply Spanish is becoming universal. Spain took the guitar because the Spaniard has so rich an individuality that he is a society in himself and the guitar with its rich polyphonies and tone colours is an orchestra in itself.'
  Andrés Segovia

ARTISTS
Andrés Segovia, guitar

TRACKLISTING
Works for solo guitar I
01-08 Federico Moreno Torroba: Castillos de España 09-14 Federico Moreno Torroba: Pièces caractéristiques
15-20 Federico Mompou: Suite Compostelana
21-24 Mario Castelnuovo-Tedesco: Sonate 'Hommage à Boccherini'*
25 Manuel Ponce: Allegro in A major*
26 Oscar Esplá: Antaño*
27 Joaquín Rodrigo: Fandango (from Tres piezas españolas)*

ARTISTS
Andrés Segovia, guitar

TRACKLISTING
Works for solo guitar II
01 Santiago de Murcia: Praeludium & Allegro*
02-04 Ludovico Roncalli: Passacaglia, Gigue, Gavotte (from Capricci armonici sopra la chitarra Spagnola)
05-10 Luis Milán: Seis Pavanas
11-12 Gaspar Sanz: Gailarda & Epañoleta
13-20 Dionisio Aguado: 8 Lessons for the Guitar
21-22 Fernando Sor: 2 Minuets (from op. 24 & op.5)*
23-31 Fernando Sor: 9 Etudes (from op.6, 35, 31, 29)*(partly)
32 Isaac Albéniz: Granada. Serenata (from Suite española, op. 47)
33-34 Enrique Granados: 2 Spanish Dances, from op. 37
35 Enrique Granados: La maja de Goya (from Tonadillas, arr. Llobet)

ARTISTS
Andrés Segovia, guitar

TRACKLISTING
JOHANN SEBASTIAN BACH - Arrangements made by Segovia
01 Suite for Lute in E minor, BWV 996 - 2. Allemande
02-03 Suite for Lute in C minor, BWV 997 - 3. Sarabande & 4. Gigue
04-06 Partita for Violin Solo No.1 in B minor, BWV 1002 - 5. Sarabande, 7. Bourrée & 8. Double
07-12 Suite for Cello Solo No.3 in C, BWV 1009 (arr.John Duarte)
13 Suite for Cello Solo No.1 in G, BWV 1007 - 1. Prélude*
14 Suite for Cello Solo No.6 in D, BWV 1012 - 5. Gavotte 1 & 2*
15 Partita for Violin Solo No.2 in D minor, BWV 1004 - 5. Chaconne*
16 Prelude for Lute in C minor, BWV 999*
17 Partita for Violin Solo No.3 in E, BWV 1006 - 3. Gavotte en Rondeau*
18 Fugue in G minor, BWV 1000*
19 Sonata for Violin Solo No.1 in G minor, BWV 1001 - 3. Siciliano

ARTISTS
Jean-Paul Bernard, Claude Ferrier, Bernard Lesage, Keiko Nakamura, François Papirer, Olaf Tzschoppe

A performance by Les Percussions de Strasbourg is an experience to be treasured. Here is an ensemble that has, more so than many others, contributed to making the general public more aware of the music of its time.

In March 2003, Les Percussions de Strasbourg made a splash at La Cité de la Musique in Paris, treating the audience to two exceptional works, combining the pleasure for the eye (Matalon) with the mystery of sound (Grisey). These two concerts gave rise to original recordings that will enable the listener to immerse him or herself in an extraordinary sound universe.

For six percussionists arranged around the audience, computer-synthesised tape and transmission of astronomical signals.

Gérard Grisey is one of the composers who, over the last thirty years, has opened up the most perspectives to music. Amongst his preoccupations: sound. Le Noir de l'Etoile is one of his major works and is scored not only for instruments ( six percussionists arranged around the audience) , but also sounds from the stars: pulsars ( tape and in situ transmission of astronomical signals) . A spoken introduction helps the listener plunge into the mystery of this sound space... A veritable dialogue with the beyond!

Grisey's music is indeed in the image of the stars: in turn rhythmic, violent, haunting, spluttering, incessantly starting over again...

ARTISTS
Jean-Paul Bernard, Claude Ferrier, Bernard Lesage, Keiko Nakamura, François Papirer, Olaf Tzschoppe

For six percussionists, two pianos and real-time electronics (2002)

Music for the silent film l'Âge d'or by Luis Buñuel (made in 1930)

With Dimitri Vassilakis, piano

Banned for breach of moral order when first released, this film disturbed with its way of showing the coarsest instincts of human nature: life instinct or death wish, in which the symbol of the scorpion takes on its full dimension (at the start of the film as in the title chosen by the composer). Without a real story or plot, the film and the music alike function almost by juxtaposition of scenes...

'The composer has written a magnificent film score - such as we would like to hear more often. Personal and colourful, yet knowing how to be discreet when necessary, and underscoring, suggesting or even announcing when the scenario calls for it.' Diapason, 05/03

'I totally espoused the Buñuelian principle of a form wherein every section opens on to another, the two having little or no relation between themselves.' Martin Matalon

The beginnings of opera in France
From Cambert's inspirations to Lully's revolution

Each of the six volumes of the Lully Collection by La Simphonie du Marais proposes a look at the evolution in the composer's writing. This newest instalment, however, is particular in that it brings together two world premiere recordings.

Pomone Music by Robert Cambert - Libretto by Pierre Perrin

Les Fêtes de l'Amour et de Bacchus Music by Jean-Baptiste Lully - Libretto by Philippe Quinault and Molière

Here are two pastorales that are considered the earliest works in French opera. Their first performances correspond to the birth of the Académie Royale de Musique and, even more, to the opening of the first opera houses in Paris, where the general public gave a triumphant reception to works that had previously been reserved for the court.

As opposed to Lully, Robert Cambert and his librettist, Pierre Perrin, believed that one could create a work made up of a prologue and five acts, and which was entirely sung. In 1671, this 'little master' presented his pastoral Pomone in a royal tennis court in Paris, transformed for the occasion into an opera house. The success was such that it logged 146 performances in the year!

Unfortunately, the theatre was mismanaged, and Perrin's association with swindlers resulted in his being imprisoned, whereas the composer was forced into exile in London. Lully understood the profitability of this novelty and bought back the opera privilege, certainly making the most of the opportunity. He learnt 'the lesson', and his genius did the rest!

Hugo Reyne, La Simphonie du Marais

In 1685, 53 years old Lully composes his Idylle sur la Paix (Idyll on Peace) followed, a few weeks later, by his ballet Le Temple de la Paix . It is the great Racine who supplies the libretto for the Idylle sur la Paix . This lyric poem with a pastoral subject constitutes Racine's and Lully's sole collaboration. Created in Sceaux in 1685, this work constitutes a kind of great cantata, in French, in praise of the king Louis XIV. Due to its success, it was often performed again, particularly at the Opéra as a prologue. By the way, this is a re-issue of a project carried out for the Year Racine in 1999

The ballets are a wholly ignored side of Lully's music. Thus, the present Ballet Royal de Flore being, to date, the only ballet of Lully recorded integrally on CD, is an important discovery. This work is the ultimate representative of the traditional ballet de cour consisting of a prologue and fifteen entrées . In 1669, Lully includes there more vocal interventions than in the past (airs, duets, trio, quartet, chorus) and gradually progresses towards the opera, the tragédie lyrique , to which he will give birth four years later.

In May 1664, the grand fête Les Plaisirs de l'Ile Enchantée unfolded over several days in the park of the Château de Versailles. The musical pieces presented here come from the first day which started with an entrée of knights to the sound of trumpets and timpani. The music for this equestrian procession has since been lost, and that is why the Simphonie du Marais has elected to perform in its place the airs from the Carrousel of 1686, which constitute Lully's sole musical testimony in the area of equestrian music.

The music of Le Bourgeois gentilhomme was put back into its context. Just like the comedy without its music, it seemed absurd to run this constellation of musical pieces together without the excerpts of comedy that flank and explain them. Moreover, the genius of the two Baptistes lies in the music's perfect integration into the comedy, and with Le Bourgeois gentilhomme , it is the apotheosis of the comédie-ballet that is presented to us, the culmination of six years of collaboration between Molière and Lully (starting with Le Mariage forcé of 1664 up to Les Amants magnifiques of this same year, 1670). In Le Bourgeois gentilhomme , all the musical forms that were going to participate in the birth of French opera, a few months later, are present: airs de cour , duets, trios, choruses, dance suites, entrées de ballet , drinking songs, ceremonial marches...

Fifteen years after the Ballet des Muses , Louis XIV expressed the desire to revive the tradition of the ballet de Cour . The recent wedding of the Dauphin and Marie-Anne-Victoire of Bavaria was the pretext for resuscitating the genre. The spectacle brought together several of the children of Louis XIV on stage: the Dauphin (or heir apparent), Count de Vermandois, Princess de Conti and Mademoiselle de Nantes (aged eight).

The ageing Benserade was called out of retirement to write the words for the characters, but most of the verses were the work of Quinault.

Le Triomphe de l'Amour is often perceived as the rough outline for the opera-ballet which would meet with great success in the 18 th century, and the vocal parts indeed represent a by-no-means insignificant part of the whole.

ARTISTS
Le Concert Spirituel, Hervé Niquet

ARTISTS
Ensemble Gradiva, Alain Zaepffel, Marcel Bozonnet, Claire Antonini
Véronique Dietschy, Christophe Le Paludier, Jacques Bona, Marianne Muller

Until recently, Joseph Bodin de Boismortier's large corpus of chamber music tended to obfuscate Boismortier's small number of religious pieces -- a mere eight or so works probably written for the Concert Spirituel -- in which he appears in a completely different, almost Haendelian, guise and shows himself to be a worthy successor of his predecessors Campra and Bernier. Apart from the motet Fugit nox (now lost, unfortunately), this recording contains all seven of Boismortier's extant religious works of an outstanding quality.

ARTISTS
Ensemble Gradiva, Véronique Dietschy, Alain Zaepffel
Marianne Muller, Françoise Langellé, Yasunori Imamura

ARTISTS
Le Parlement de Musique / Martin Gester

The Nativity occupies an extremely important place in Marc-Antoine Charpentier's religious music. Even if the works were the result of commissions, this liturgical period seems to have brought forth a particularly inspired response on the part of the composer -- just like any man of faith. Throughout the work, Charpentier invites us to celebrate Christmas in its most radiant immediacy, demonstrates his skill in using the ostinato device coming directly from Italy, creates a mood of great tenderness and resorts to the pastorale genre to treat as fundamental a subject as the birth of Christ.

ARTISTS
Ensemble Stradivaria, Daniel Cuiller

ARTISTS
Olivier Baumont, harpsichord

ARTISTS
Ensemble Variations

ARTISTS
Les Nièces de Rameau

Jean-Philippe Rameau's Pièces de Clavecin en Concerts constitute all the composer's chamber music for multiple instruments. The work brings together sixteen pieces arranged in five 'concerts' which can be adapted in several ways according to the composer. Up until now, most interpreters used the Violin-Viola da gamba-Harpsichord solution with which they often contrasted the Flute-Viola da gamba-Harpsichord one. This recording may pride itself on being the first to propose an alternative solution which had previously been abandoned. The musicians have chosen to alternate between the groups Flute-Violin II-Harpsichord and Violin I-Violin II-Harpsichord

ARTISTS
Jonathan Dunford, viol

ARTISTS
Davitt Moroney, harpsichord

Siret's second book of harpsichord pieces admirably bridges the gap between the first French harpsichord school, which culminates with the D minor suite of Louis Marchand (1699), and the new, early eighteenth-century style, exemplified by the majority of Couperin's pieces in his first two books.

The piece included at the end of this recording is a brief reminder of the other organ works which presumably existed but appear to have been lost.