Semper Fidelis - The United States Marine Corps at 250

Violinist Alexandra Tirsu presents her debut album comprising concertos by Dmitri Shostakovich and Paul Hindemith. Shostakovich's music has resonated with her since childhood, it's atmosphere reflecting the war stories she grew up with. Violin Concerto No. 1 unfolds like a psychological journey-from a shadowy opening to a fierce scherzo, an emotionally charged passacaglia, and a wildly ironic finale. Hindemith's rarely performed Violin Concerto, which Alexandra first explored at the ARD Competition in Munich, reveals a different voice: clear, structured, and quietly expressive. Recorded with the Royal Philharmonic Orchestra under the baton of Vasily Petrenko, this album captures a moment of depth, identity, and emotional connection through two powerful 20th-century works.

The viola bastarda is much more than just a specific instrument: it is also a technique for playing the viola da gamba that involves developing a vast skill in ornamentation over the entire range of the instrument and covering all the tessituras from bass to soprano. Today's performers are faced with a repertoire compiled by a few virtuosos, while at the same time they have to reconstitute a performing practice that exists only in a few historical treatises. Manon Papasergio has devoted her first recording to this art form and it's development during the exciting transitional period from the Renaissance to the Baroque.

After releasing the complete set of Ennio Morricone's Cinema Suites for violin and orchestra on two�albums�(Cinema Suites, A495 and�Cinema Rarities, A554),�Marco Serino now presents world premiere recordings of the Maestro's own arrangements for violin and piano. Marco is joined by pianist Leandro Piccioni, who, like Marco, brings over twenty years of experience working closely with Morricone in his favoured orchestra, Roma Sinfonietta. These original arrangements, all from celebrated soundtracks,�represent the point of departure for an original anthology in which the two musicians investigate the wider repertoire connected to the cinema.�Cinema Memories�ranges from works that have since become classics such as the�Three Pieces from Schindler's List�by John Williams to Bernstein's�West Side Story Suite, one of the outright masterpieces of musicals on film, and Myroslav Skoryk's Melody in A minor, a jewel of a piece that has since become a sort of national anthem for the Ukrainian people. It is a programme that interweaves memory and imagination, melancholy and light, dreams and reality, making each listening experience a truly multifaceted experience.

For the second project in it's Meridiane series, Sjaella explores the music of cultures whose languages exist only as mother tongues for minorities. On this new album, spoken, the a cappella vocal ensemble shares it's fascination for cultural diversity and vocal sounds through new interpretations of traditional music. The arrangements of folk songs and dances, as well as new compositions, represent sound worlds that move between tradition and modernity. Sjaella's Meridiane series, which continues on Fuga Libera, is a succession of colourful musical treasures that strengthens the ensemble's connection to it's own cultural roots.

Pierre Dumoussaud conducts a 'dream orchestra' comprised of chamber music players, regulars at Deauville's Easter Festival (Festival de Paques) in an unusual two-part work by Schonberg: the two "chamber symphonies," scores which are as teeming with detail as they are moving, attesting to the composer's soul-searching and experiences at the beginning of the Twentieth Century. In a string orchestra version, Langsamer Satz by Anton Webern, a student of Schonberg, adds all it's romantic fervour as a counterpoint.

Apres ses debuts remarques dans le jazz, Alexandre Sacha Distel, neveu du celebre chef d'orchestre Ray Ventura, s'oriente vers la chanson. Son charme et sa voix seduisent rapidement le public. en 1958, son tube Scoubidou le propulse au sommet des charts. de 1959 a 1962, Distel enchaine les succes. Il remporte le Grand Prix de l'Academie Charles-Cros en 1959, chante avec Maurice Chevalier, compose pour le grand ecran et devient une ic�ne de la chanson francaise, alliant talent musical et elegance naturelle. Patrick FReMEAUX After a stunning debut as a jazz guitarist, Alexandre "Sacha" Distel, the nephew of famous French bandleader Ray Ventura, turned to the world of songs, where his voice and good looks quickly attracted a large audience. In 1958 he had an enormous hit with the song "Scoubidou" that catapulted him to the top of the charts. In 1959 he won the "Grand Prix de l'Academie Charles-Cros", and for the next three years he enjoyed one hit after another. He would sing with Maurice Chevalier and compose songs for films before becoming an icon in popular music with a unique combination of musical talent and natural elegance. Patrick FReMEAUX CD1 (1957-1959) : Sacha Distel CHANTE : TOUT BAS (SPEAK LOW) - CHEVEUX DANS LE VENT - QUAND J'Y PENSE - LA FIN D'UN ROMAN D'AMOUR - MA CHeRIE SI JOLIE (TAMMY) - MALADIE D'AMOUR - INSENSIBLEMENT - FASCINATION - ROSE D'OR - LE TOUR DU MONDE (AROUND THE WORLD) - QUAND TU VIENS CHEZ MOI... MON COEUR - QUELQUE CHOSE EN TOI - L'eTANG - TIENS ! TIENS ! TIENS ! - UN AMOUR COMME LE N�TRE - QUE RESTE-T-IL DE NOS AMOURS ? - PARLEZ-MOI D'AMOUR - SI PETITE O MON AMOUR - GARDE cA POUR TOI (CATCH A FALLING STAR) - LE MUR - La, PReS DE LA FENeTRE (IN THE WEE SMALL HOURS) - DORS MON AMOUR - BRIGITTE - a JAMAIS - BONJOUR CHeRIE. BANDE ORIGINALE DU FILM GIGI : C'EST LA BARBE (AVEC MAURICE CHEVALIER) - TOUT cA N'EST PAS POUR MOI - CEUX QUI INVENTeRENT LE CHAMPAGNE (AVEC MARIE FRANCE GIGI ET JANE MARKEN) - GIGI. CD2 (1959-1961) : Sacha Distel EN PERSONNE : SCOUBIDOU - POMMES ET POIRES - OH ! QUELLE NUIT (LONESOME ME) - QUAND ON S'EST CONNU - CE SERAIT DOMMAGE... (IMPATIENT LOVER) - OUI, OUI, OUI, OUI (GRAND PRIX DE LA CHANSON R.T.F. 1959) - DIS ! O DIS ! (EVERYBODY LOVES A LOVER) - ET QUE cA DURE - JE N'AVAIS PAS COMPRIS. COQ D'OR DE LA CHANSON 1959 : SOPHIE. Sacha Distel N�2 : MON BEAU CHAPEAU - La, PReS DE LA FENeTRE (IN THE WEE SMALL HOURS) - LES CeLIBATAIRES - OUAH ! OUAH ! OUAH ! OUAH ! - PERSONNALITeS - ELLE A LE... ELLE A LA... ELLE A LES... - DITES a L'ORCHESTRE (LA... LA... LA...) - MONSIEUR L'BARON - TOUT cA DEVAIT ARRIVER (EVERYTHING HAPPENS TO ME) - DR�LE DE ReVE (THE PREACHER) - ALLEZ ! VA ! (MY HEART IS AN OPEN BOOK). Sacha Distel N�3 : 20 MADAM' MADAM' - CALIN CALINETTE - LES CARIOCAS, ELLES SONT SI BELLES LES CARIOCAS - OUI, DEVANT DIEU (LA NOVIA) - LE BOOGIE DU BeBe (BABY SITTIN' BOOGIE) - ON DIT, ON DIT, ON DIT - cA C'EST DU POULET - a CAUSE DE TOI (I DON't KNOW WHY) - BYE BYE BABY (BYE BYE BLACKBIRD) - TROIS FOIS LA FRANCE. CD3 (1961-1962) : OUI ET NON - C'EST TOUT, C'EST TOUT (THAT'S ALL) - CATERINA - C'eTAIT PLUS FORT QUE TOUT (I CAN't STOP LOVING YOU) - J'AI UN RENDEZ-VOUS (I WANNA THANK YOU) - SANS TOI - QUE C'EST BON (WELCOME HOME TO MY HEART) - CHANSON SUR UNE SEULE NOTE (SAMBA DE UMA NOTA SO) - GUITARE ET COPAINS (A STEEL GUITAR AND A GLASS OF WINE) - DIS-MOI BARMAN - LES FILLES... MOI J'AIME cA - BON VENT MA JOLIE - PAILLASSE - RIEN DANS LA NUIT. SACHA BOSSA NOVA : ESO BESO - DESAFINADO - VIENS DANSER LA BOSSA NOVA (TING TOUNG) - LOIN DE TOI (RECADO). EVERYBODY LOVES THE LOVER : LET ME LOVE YOU - WHY DON't WE DO THIS MORE OFTEN - MY HEART STOOD STILL - ONCE IN EVERY LIFETIME - I'm IN THE MOOD FOR LOVE - SPEAK TO ME OF LOVE - THE LOVER - IT'S BEEN A LONG, LONG TIME - EVERYBODY LOVES A LOVER - YOU DO SOMETHING TO ME - I CAN't GIVE YOU ANYTHING BUT LOVE - ALMOST LIKE BEING IN LOVE. DIRECTION ARTISTIQUE : OLIVIER JULIEN

Darius Milhaud a 25 ans lorsqu'il debarque a Rio de Janeiro en fevrier 1917, en plein carnaval. Puis il voyagera, fin 1919, en Martinique et aux USA. Sejours nourris de decouvertes sonores qui feront qu'il deviendra un precurseur de l'intrication des musiques du monde et de l'ecriture erudite europeenne des les premieres decades du XXe siecle. Philippe LESAGE In February 1917, Darius Milhaud went to Rio de Janeiro. He was 25, and he disembarked when the Carnival was in full swing. He stayed until the end of 1919, then travelled to Martinique and the USA. During his three stays he discovered remarkable sounds that would make him a precursor, in the first two decades of the 20th century, of the intricate relationship between world music and the scholarly classical music of Europe. Philippe LESAGE CD1 : LE BOEUF SUR LE TOIT : MINNEAPOLIS SYMPHONY ORCHESTRA, DIR MITROPOULOS - ATe EU : OITO BATUTAS - ATe A VOLTA : OITO BATUTAS - APANHEI-TE CAVAQUINHO : ERNESTO NAZARETH - SCARAMOUCHE : MARCELLE MEYER & DARIUS MILHAUD - BREJEIRO : BANDA DO CORPO DOS BOMBEIROS DE RIO DE JANEIRO - GRA�NA : OITO BATUTAS - ESCOVADO : ERNESTO NAZARETH - SAUDADES DO BRASIL : DARIUS MILHAUD - SAUDADES DO BRASIL : JACQUES FeVRIER - SAUDADES DO BRASIL : LE TRIGENTUOR LYONNAIS - DANSES DE JACAREMIRIM : LOUIS KAUFMAN & ARTUR BALSAM. CD2 : LA CReATION DU MONDE : ORCHESTRE DU THeaTRE DES CHAMPS-ELYSeES, DIR DARIUS MILHAUD - CARNAVAL a LA NOUVELLE-ORLeANS : ARTHUR GOLD & ROBERT FIZDALE - SOUNDS OF AFRICA : EUBIE BLAKE - I WOULD LIKE TO KNOW WHY : WIENER & DOUCET - KING PORTER STOMP : JELLY ROLL MORTON - 3 RAG-CAPRICES : VIENNA SYMPHONY ORCHESTRA, DIR HENRI SWOBODA - SOUVENIR DU BOEUF SUR LE TOIT : WIENER & DOUCET - HANDFUL OF KEYS : FATS WALLER - LE BAL MARTINIQUAIS : ROBERT & GABY CASADESUS - EN L'AI MONE LA : STELLIO - CINeMA FANTAISIE : RENe BENEDETTI ET JEAN WIENER. DIRECTION ARTISTIQUE : PHILIPPE LESAGE ET TECA CALAZANS

48 Chefs-d'oeuvre D'amerique Latine 1930-1962 - "These 48 masterpieces from Latin America provide an immersion in the musical diversity of the continent that is South America. Habanera, danzn, choro, samba, tango, rumba, mambo and cha-cha-cha illustrate Latin Americas creativity in it's music, notably thanks to the richness of popular Creole music forms, and together they represent a true national identity through music.

We know Satie as a loner, but it is less well known that Satie had also been in love. He had a brief and stormy affair with the painter Suzanne Valadon. The portrait she made of him is on the cover of this album, as pianist Guillaume Coppola has conceived it as an intimate portrait of the composer, "one masked by a veil of modesty or provocation and which lies between antique and oriental inspiration, mystical phases, humour and cabaret". The miniature Bonjour Biqui and the motif of the Vexations possess rare allusions to Valadon and become commas between these chapters, as does Desespoir agreable, whose title alone seems to sum up Satie's life and work. This tribute is released to mark the centenary of Satie's death; whilst the famous Gymnopedies and Gnossiennes feature on the programme, the album also presents rare and infrequently recorded discoveries that testify to the richness of the works that the whimsical Satie had created.

Fruit d'une rencontre musicale exceptionnelle entre le pianiste de jazz francais Olivier Hutman et le joueur de kora senegalais Lamine Cissokho, Double Skyline fusionne avec brio les traditions musicales ouest africaines, particulierement mandingues et le jazz. Sorti initialement sur le label Cristal Records, cet album d'une rare fraicheur, nous embarque dans un voyage sonore qui mele quietude et ravissement, tout en ouvrant vers de nouveaux horizons. Augustin BONDOUX & Patrick FReMEAUX Accords, modes, timbres, rythmes, deux continents, une seule histoire : le pianiste Olivier Hutman et le joueur de kora Lamine Cissokho proposent un magnifique echange de vues avec Double Skyline. Francis MARMANDE - LE MONDE "Double Skyline" is the result of an exceptional encounter in music between French jazz pianist Olivier Hutman and Senegalese kora player Lamine Cissokho. With brio, their album provides a fusion of West African traditions, particularly Mandinka music and jazz. Initially released on the label Cristal Records, this album has a rare freshness that takes us on a voyage in sound that mingles tranquility and delight while opening out onto new horizons. Augustin BONDOUX & Patrick FReMEAUX OLIVIER HUTMAN - PIANO - LAMINE CISSOKHO - KORA NUMERO UNO* - FOLON* - FIVE IN BLUE* - CONTREVENT* - SUNUJAZZ* - SOPHIE TUCKER'S FAVORITE DREAM* - FASSOULO* - CAPO VERDE* - MODESTY*. COMPOSED BY LAMINE CISSOKHO. COMPOSED BY OLIVIER HUTMAN.

Bien qu'Erik Satie soit principalement reconnu pour son oeuvre de compositeur et pianiste, ses ecrits poetiques sont a l'image de sa musique : souvent courts, empreints d'un humour absurde et d'une grande sensibilite melancolique. La voix profonde et le timbre captivant de Francois Marthouret, se mele ici aux harmonies delicates du piano de Christiane Gugger. La complicite sensible entre l'acteur et la pianiste, souligne toute la musicalite et l'inattendu de ces ecrits iconoclastes signes par l'un des plus grands precurseurs de son epoque Augustin BONDOUX / Patrick FReMEAUX Although Erik Satie is primarily known for his work as a composer and pianist, his poetic writings reflect the same qualities as his music: often brief, tinged with absurd humor and deep melancholic sensitivity. The deep voice and captivating tone of Francois Marthouret blend here with the delicate harmonies of Christiane Gugger's piano. The sensitive rapport between the actor and the pianist highlights the musicality and unpredictability of these iconoclastic writings by one of the greatest pioneers of his time. Augustin BONDOUX / Patrick FReMEAUX GNOSSIENNE N�2 ET JE SUIS Ne a HONFLEUR - GNOSSIENNE N�4 - JE REGRETTE - GNOSSIENNE N�3 - LA JOURNeE D'UN MUSICIEN - VALSE-BALLET. SPORTS ET DIVERTISSEMENTS - CHORAL INAPPeTISSANT - LA BALANcOIRE - LA CHASSE - LA COMeDIE ITALIENNE - LE ReVEIL DE LA MARIeE - COLIN MAILLARD - LA PeCHE - LE YACHTING - LE BAIN DE MER - LE CARNAVAL - LE GOLF - LA PIEUVRE - LES COURSES - LES QUATRE COINS - LE PICNIC - LE WATER-CHUTE - LE TANGO - LE TRAiNEAU - LE FLIRT - LE FEU D'ARTIFICE - LE TENNIS. MUSIQUE SUR L'EAU - FANTAISIE-VALSE - ECHANGE D'IDeE - OGIVE N�1 - LES PeRIMeS - GNOSSIENNE N�5 - LE VERTIGE - SEUL a LA MAISON. LETTRE a DEBUSSY - 20 JUILLET 1903 - 14 AO�T 1903 - 17 AO�T 1903. AVANT-DERNIeRES PENSeES - IDYLLE a DEBUSSY - AUBADE a PAUL DUCAS - MeDITATION a ALBERT ROUSSEL. MICHELET ET LES ANIMAUX - PIeCE FROIDE N�2 - L'ARTISTE ET L'ENNUI - GNOSSIENNE N�1 - MESDAMES MESDEMOISELLES MESSIEURS - JE TE VEUX LETTRE a SUZANNE VALADON 11 MARS 1893 - SON BINOCLE.

Chaque album du trio Kuhn/Humair/Jenny-Clark est une promesse de perfection. Enregistre au cours de la tournee internationale 1992-1993, ce live est un temoin inespere de l'apogee de ce trio legendaire et de l'alchimie incandescente qui unissait ces trois maitres. La virtuosite est organique, la puissance inalterable et l'elegance regne en majeste. L'age d'or du jazz en Europe. Augustin BONDOUX / Patrick FReMEAUX Each album by the trio Kuhn/Humair/Jenny-Clark already promises perfection. And this unexpected live recording made in the course of an international tour in 1992-1993 proves at least three things: the trio was at it's zenith; it had already become a legend; and the alchemy that bound these three masters together was incandescent. Here their virtuosity is no less than organic, the trio's power is unshakeable, and the elegance that reigns throughout is majestic. This is a demonstration of the Golden Age of jazz in Europe. Augustin Bondoux / Patrick Fremeaux INDIA (JOHN COLTRANE) - HEAVY HANGING (Joachim Kuhn) - GUYLeNE (DANIEL HUMAIR / Joachim Kuhn) - FROM TIME TO TIME FREE (DANIEL HUMAIR / Joachim Kuhn) - SUMMERTIME (GEORGES GERSHWIN). Joachim Kuhn PIANO - DANIEL HUMAIR DRUMS - JEAN-FRANcOIS JENNY-CLARK BASS

Pour le premier album de son Klezmer Ensemble, Marc Crofts reunit des musiciens de tous horizons (Suisse, France, Pologne ou Bulgarie) qui ont chacun des influences musicales differentes : musiques klezmer, balkaniques ou tziganes, mais aussi jazz et classique. Le violoniste a puise dans un repertoire folklorique perdu, qu'il a rearrange de facon totalement inedite en faisant dialoguer les codes traditionnels avec ses propres experiences musicales et celles de chacun de ses acolytes. Entre tradition et modernite, Urban Myths propose une relecture subtile et jubilatoire de la musique klezmer, interpretee par des musiciens virtuoses qui communiquent une precieuse complicite. Augustin BONDOUX / Patrick FReMEAUX For his first Klezmer album, Marc Crofts has gathered musicians from many horizons (Switzerland, France, Poland, Bulgaria). Each of them brings in a different musical influence, whether from Klezmer, the Balkans or gypsy traditions, but also jazz and classical music. The violinist draws from a lost folk repertoire which he has rearranged in a totally novel way, constructing a dialogue between traditional codes and personal musical experiences that belong only to his companions and himself. Navigating old traditions and inventive modernity, "Urban Myths" offers a jubilant and subtle new interpretation of klezmer music played by virtuoso musicians who share a precious and communicative complicity. Augustin BONDOUX / Patrick FReMEAUX UKRAINIAN MEDLEY - FARMER'S ZOK - BELORUSSIAN SKOTCHNE - VEN IKH ZOL HOBN - VOLEKH - VOLYNSK NIGN - THE POET'S NIGUN - PAPIR IZ VAYS - ROZMARIN NIGN - WEAVER FROM JELAL - ANONYMOUS NIGN - ZAY GEZUNT - PERELMAN'S TISH-NIGN - SAKHINOVSKI SKOTCHNE. MARC CROFTS : VIOLON, VOIX & ARRANGEMENTS - ATANAS MARINOV : CLARINETTE - SERAPHIM VON WERRA : ACCORDeON - PIOTR WEGROWSKI : CONTREBASSE. PRODUCTION : NOMADIM PROD.

Membre du Big Band de Claude Bolling depuis 1978, le talentueux saxophoniste et clarinettiste Claude Tissendier a ete un temoin privilegie de la carriere du pianiste et chef d'orchestre. Ces annees de collaboration et une connaissance intime du repertoire bollingien, conferent a son hommage une authenticite rare. Avec Swingin' Bolling Tissendier s'affirme comme un passeur de memoire, un gardien du temple swing, qui perpetue a merveille l'esprit et la lettre de l'oeuvre du chef. Augustin BONDOUX / Patrick FReMEAUX The talented saxophonist/clarinet-player Claude Tissendier has been a member of the Claude Bolling Big Band since 1978, and so a privileged witness to his leader's career as a pianist and conductor. During those years of collaboration, Tissendier has gained an intimate knowledge of the band's repertoire that lends rare authenticity to his tribute here. With "Swingin' Bolling", Tissendier shows himself to be a perfect messenger filled with memories and also one of the best guardians of the temple of Swing. This record wonderfully perpetuates the spirit and the letter of the works of "the Chief." Augustin BONDOUX / Patrick FReMEAUX BOWLING GREEN - LET'S SWING IT - TRADE MARK - BIG GOLDEN PIPE RHAPSODY - THE KEY - SAX SPECIALTIES (SAX SPECIAL TISS) - GENTLE GIRL - FEED THE CATS - MAIN DE FER ET GANT DE VELOURS - LA COMPLAINTE DES APACHES - PARIS EN BOUTEILLE - SOFT CALL - KEEP SMILING - CITY LIFE. CLAUDE TISSENDIER SAXPHONE ALTO, ARRANGEMENTS eRIC LEVRARD SAXPHONE BARYTON PHILIPPE MILANTA PIANO PIERRE MAINGOURD CONTREBASSE ALAIN CHAUDRON BATTERIE FABY MeDINA CHANT (5 &10) TOUTES LES COMPOSITIONS SONT DE CLAUDE BOLLING