Tuesday, December 28, 2010

Monday, December 27, 2010


Founded by François Lazarevitch in 2005, the ensemble Les Musiciens de Saint-Julien takes its name from the Confrérie Saint-Julien-des-Ménétriers, an important musicians’ guild, founded in Paris in the Middle Ages. From the early fourteenth to the late eighteenth century, the guild brought together musicians who were also dancers, who performed music of oral tradition as well as written compositions, and embodied the sacred union of music and dance.

With the same curiosity Les Musiciens de Saint-Julien explore little-known repertoires, such as those of the airs de cour (“Et la fleur vole”), early Scottish music (“For ever Fortune”) and brunettes (“À l’ombre d’un ormeau”), as well as works from the «great repertoire », written by composers such as Lully, Charpentier, Bach and Telemann. Natural musical phrasing, instrumental colour and the spirit of the dance are always of vital importance. The ensemble takes part in dance performances (“Métamorphose(s)” with the Baroque dance company L’Eventail, directed by Marie-Geneviève Massé) and theatre performances (“Monsieur de Pourceaugnac” by Molière and Lully, with the company Les Malins Plaisirs, director Vincent Tavernier).

Friday, December 24, 2010


En l’espace de quelques années, le jeune pianiste allemand Martin Helmchen s’est bâti une solide réputation avec son style à la fois virtuose et épuré. Lauréat de deux trophées « Echo Klassik » et du « Prix du Crédit suisse pour les jeunes artistes », il a déjà joué avec les orchestres les plus prestigieux : le philharmonique de Vienne, l’orchestre symphonique de Berlin ou l’Orchestre philharmonique de la NHK au Japon. La musique de chambre est son domaine de prédilection – une passion insufflée par Boris Pergamenschikow. Il se produit régulièrement avec Heinrich Schiff et Marie-Elisabeth Hecker, mais aussi Gidon Kremer, Christian Tetzlaff, Sharon Kam, Juliane Banse, Julia Fischer et Sabine Meyer. Une forte personnalité musicale, précoce, qui mêle à merveille sérieux et légèreté.

Thursday, December 23, 2010

Friday, December 17, 2010


Guido Morini and Marco Beasley founded Accordone in 1984, motivated by a great passion for the music before Bach, for original instruments and for a new musicological approach to problems of interpretation. At the heart of their work is Italian music for voice and basso continuo from the 16th and 17th centuries..
Inspired by the values, poetics and capabilities of early musicians, Accordone paves a new path in interpretation. With vitality and competence, they present to large audiences pieces once considered enjoyable only for specialists and musicologists. Particular attention is given to the theatrical element: the concert is transformed from a simple container of musical pieces to a musical and dramatic event, based often on a theme or story.
 The Videos..

Thursday, December 16, 2010




Berlioz’s epic opera “Les Troyens” is regarded as his most ambitious and powerful work. Staging the demanding and tragic performance is a real challenge! It took the Mariinsky Theater several years to bring the masterpiece together in Russia’s hub of classical music, St Petersburg.

Thursday, December 9, 2010




creation 2009 la nouvelle compagnie

avec le soutien de la ville de niort, conseil general des deux-sevres, le festival impulsions femmes, l’espace tartalin, le moulin du roc

danse : helene blanck
sculpture : claude besson
musique : gael ascal
lumiere : pierre papot

realisation wilfrid berger

merci À la baf, pour l’instant, autour de la sculpture et toutes celles et ceux qui ont participe activement À la mise en oeuvre de promenades

Classical Connect - Free classical music online

Tuesday, December 7, 2010

Thursday, December 2, 2010


Niccolò Paganini (1782 – 1840)

Violin Concerto No. 1 in D major, Op. 6

Hilary Hahn is making history as we speak: this classical music recording puts her among the top violinists in the world.

An astonishing performance unlike any existing one, especially with
regard to form, intonation and musical insight of the violinist.

 Hilary’s lyrical personality is heard throughout the performance, right
from the beginning. Compare her entrance (some 3 minutes into the first
movement, after an introduction from the orchestra) to Salvatore

read and listen..