Sung in Latin and Corsican

Written in Corsican and Latin, Jean-Paul Poletti was commissioned to carry out this work in 2001 by the Collectivité Territoriale de Corse (Territorial Community of Corsica), who wished work, based on the musical courantes that accompanied religious life in Corsica, to be created to illustrate the "2000 years of Christianity in Corsica" theme.

Jean-Paul Poletti, composer, interpreter and educationalist, is an international figure, and considered as the greatest specialist of insular traditional music.

His creation of " Terra Mea ", an allegorical oratorio interpreted a cappella in the community of the seven voices of the Choir of Sartènes, is savoured as a spiritual and cultural act of faith. It has Poletti's melodic richness, drawn from antique chant sources up to the inspiration of today's music.

The Ave Maria flows like a benediction, Terra Mea is a prodigious beauty, Legenda , Credo , and more all tend towards a spiritual communion whose ultimate message will always be kept. The chant is universal and knows no frontiers.

A universal chant,
A hymn for peace,
A moment of intense emotion!

01. Introit  05:44
02. Kyrie eleison  04:38
03. Miserere 03:05
04. Legenda 02:34
05. Misericordia 04:42
06. Ut quid Deus repulisti 03:04
07. Credo 04:02
09. Cantu di l'Alivu 03:45
10. A rota 02:53
11. Inviolata 03:08
12. Ave Maria 02:21
13. Un sognu umanu 01:51
14. Laudate pueri Dominum 02:10
15. Litanie antiche  03:42
16. Terra mea 03:41
17. Sicut erat...  02:18

Michael Jarrell's music is characterised by mystery and elegance: the mystery of the fire beneath the ice, passion behind seeming tranquillity, elegance in the form, acoustic choices and developments. Mystery and elegance that prevail over a highly personal universe that the five pieces on this recording illustrate in a way that is rich, contrasted and remarkably homogeneous. Indeed, round the distinctive voice-clarinet pivot of the Ensemble Accroche Note and its founders Françoise Kubler and Armand Angster, one discovers the essential qualities of a career elaborated primarily in the demanding.

01. Assonance III > 8'32
for bass clarinet, cello and piano (1989)
Armand Angster, bass clarinet - Christophe Beau, cello - Christophe Bertrand, piano

02. Eco IIb > 8'45
for soprano and six instruments (1994)
Françoise Kubler, soprano
Ensemble Accroche Note : Mario Caroli, flute - Armand Angster, bass clarinet - Marie-Violaine Cadoret, violin
Christophe Beau, cello - Elodie Adler, harp - Emmanuel Séjourné, percussion

03. Aus Bebung > 16'55
for clarinet and cello (1996)
Armand Angster, clarinet - Christophe Beau, cello

04. Trei II > 16'25
for soprano and five instruments (1982)
Françoise Kubler, soprano
Ensemble Accroche Note (Jean-Philippe Wurtz, conducting): Mario Caroli, flute - Armand Angster, clarinet
Marie-Violaine Cadoret, violin - Christophe Beau, cello - Christophe Bertrand, piano

05. Essaims Cribles > 19'28
for bass clarinet (and contrabass clarinet) and instrumental ensemble (1986-88)
Armand Angster, clarinets - Ensemble Linea (Jean-Philippe Wurtz, conducting

ENSEMBLE ACCROCHE-NOTE

'If we had to choose one composer to illustrate the mutation that took place at IRCAM in the 1990s, we would readily designate Yan Maresz. 1995: the Institute founded two decades earlier by Pierre Boulez is preparing to express, in a luminous architectural extension, its will to open up towards the outside... ' Le Monde , June 2000

Yan Maresz, French composer born in Monaco in 1966, studied piano and percussion at the Academy of Monte-Carlo. Early on, he discovered jazz and then devoted himself to the guitar. In 1983, he became a student of guitarist John McLaughlin , of whom he was the sole pupil, and, as of 1989, the principal orchestrator and arranger (collaboration on the discs The Promise and Time Remembered ). He studied jazz at the Berklee College of Music in Boston from 1984 to 1986, when he turned to writing and enrolled in the composition class at the Juilliard School in New York. In 1993, he left the United States, enrolling in the composition and musical programming course at IRCAM in Paris where he studied with Tristan Murail .

His career has been punctuated with prizes and awards, and his works have been played in France and abroad by numerous groups and within the framework of the leading international festivals. Several portraits have been devoted to his music in concert, along with two documentary films and several subjects of television reports broadcast by various networks...

'Considering each one of his pieces - whether   symphonic, for ensemble or solo instrument - this young Frenchman has the makings of greatness .' La Croix, February 2000

1. Metallics (1995) for solo trumpet and real-time electronics                                              10'41
2. Eclipse (1999) for clarinet and fourteen instruments                                                               10'39
3. Entrelacs (1999) for six instruments                                                                                12'35
4. Metal Extension (2001) for trumpet and instrumental ensemble                              19'51
5. Sul Segno (2004) for 4 instruments and real-time electronics                                              14'47

Ensemble Intercontemporain
Jonathan Nott, conducting

Lyric drama in 3 acts
Libretto by Leopoldo Marenco
adapted from Alphonse Daudet's L'Arlésienne
Sung in Italian

CD1 61'32

Act I
1   Prélude 5'12
2   Baldassare : E a te né un bacio  5'25
3   Rosa : o Dio, nessuno ancora ! 5'02
4   Rosa : Ah, l'Innocente lassù  3'08
5   Federico : Mamma  4'31
6   Metifio : Caste lleto ? 5'25
7   Federico : Perchè state laggiù 2'56

Act II
8   Rosa : Da quando il cerchi tu ?  5'29
9   Innocente : Ah ! - Baldassare : Che cosa è stato ? 6'32
10 Baldassare : Ecco, declina il dì 4'45
11 Federico : Dormia quest'Innocente 4'08
12 Vivetta :Se, come amo  4'45
13 Federico : Perché pianger così ?   4'14

Choeur de l'Opéra National de Montpellier Noëlle Geny, chorus master
Orchestre National de Montpellier
Friedemann Layer, conducting

Back in the catalogue, the mystical masterpiece of André Caplet: Miroir de Jésus.
World-première recording and the only one available.

Following the already published Barcarolles, the second volume of the Fauré by Jean-Michel Damase, unanimously hailed as the composer's exceptional interpreter

The best of Ravel's chamber music interpreted in great subtlety. Absolutely ideal due to the unique recording of the original version of Tzigane, with luthéal piano.

For the first time on CD, the novels Lettres de Mon Moulin spoken by Fernandel, Daudet's complete work in a mythical recording produced by Decca in 1955, and Bizet's complete incidental music conducted by Albert Wolff.