The Velvet Underground’s classic self-titled third album, released in March 1969, by MGM, was a departure from the band’s first two albums in more ways than one. Gone was co-founding member John Cale, and in his place was a 21-year-old with Long Island roots named Doug Yule, who stepped right in. The record was also a stylistic leap, as Lou Reed describes it in Rolling Stone editor David Fricke’s liner notes, “I thought we had to demonstrate the other side of us. Fricke calls it “a stunning turnaround… 10 tracks of mostly warm, explicit sympathy and optimism, expressed with melodic clarity, set in gleaming double-guitar jangle and near-whispered balladry. Or as the late rock critic Lester Bangs put it, “How do you define a group like this, who moved from ‘Heroin’ to ‘Jesus’ in two short years?”

'Rattle That Lock' is the new solo album by David Gilmour, the voice and guitar of Pink Floyd. This is David's fourth solo album, and the first since 2006's #1 album 'On An Island'. The primary lyricist for 'Rattle That Lock' is Gilmour s long-term writing partner, Polly Samson, and the album is co-produced by David Gilmour and Roxy Music s Phil Manzanera. The album's striking cover has been art directed by Dave Stansbie.

Back when music was only available on a vinyl album, the pure excitement captured on a live album was considered the ultimate document coveted by hardcore music fans. Clark continues this tradition by bringing the live album to a younger generation of music fans. Live North America 2016 was recorded absolutely live, with no overdubs. What you hear is how it went down.

“Circle Time” in humanistic psychology is a working group methodology, which makes use of alternative communication techniques. Participants are disposed in a circle setting and are all at the same level. The circle is a space of discover, debate, exchange, with no judgments or mistakes. It allows a communitarian and cooperative dialogue, where participants’ emotions are protected and taken into consideration and the outcomes represent the personality of each one.

Pour son 3ème album studio, Thomas Dutronc met le cap sur l'Angleterre Un nouvel album aux sonorités plus pop, réalisé par le producteur star Jon Kelly (Paul Mc Cartney, Kate Bush) à Londres.Entouré de musiciens brillants - Sam Dickson (Adele) à la basse, Matt Johnson (Jamiroquai) au clavier, John Paricelli (Willy Moon, Sia ) à la guitare Thomas Dutronc délaisse le temps de quelques chansons le style manouche qu'on lui connaissait jusque-là. / For her 3rd studio album, Thomas Dutronc puts the cap on the England A new album sounds more pop, directed by the producer of star Jon Kelly (Paul mccartney, Kate Bush) in London.Surrounded by successful musicians - Sam Dickson (Adele) on bass, Matt Johnson (Jamiroquai) on keyboard, John Paricelli (Willy Moon, Sia ) guitar-Thomas Dutronc abandoned the time a few songs in the gypsy style that he knew so far.

Whilst coming from very different eras, William Byrd and Arvo Pärt are both considered masters of sacred music despite having faced considerable persecution for their work. This programme presents six of William Byrd’s works from the Cantiones Sacrae including the monumental Tribue, Domine, and the mighty eight-voice motet Ad Dominum cum tribularer. The three works by Arvo Pärt speak in his unmistakable voice, with its unique blend of ancient and modern, and include his mesmerising Nunc dimittis which is crafted in his bell-like ‘tinitinnabuli’ style.

The Sixteen contrasts the dramatic intensity of music by some of today’s most admired composers with such traditional and modern carols as Boris Ord’s Adam lay ybounden and Henry Walford Davies’ version of O little town of Bethlehem. Much-loved modern classics including John Rutter’s There is a flower, Morten Lauridsen’s O magnum mysterium and James MacMillan’s O radiant dawn also appear on this beautiful album and there are many others which, in the course of time, will also become classics; every one of them by their unashamed simplicity, captures the joy and sincerity of this most wonderful of seasons. This album provides a perfect peaceful and uplifting antidote to the hectic pre-Christmas rush.

Monteverdi’s sacred vocal compositions introduced the expression of powerful and personal emotions to the world of church music. Whilst it took him a number of years to find fulfilment in his work, Monteverdi was a revered composer within his lifetime and his music is regarded as revolutionary, marking the change from the Renaissance style to that of the Baroque. This album comprises some of the finest works from Monteverdi’s years as director of music at St Mark’s in Venice, published posthumously in 1650 as the Messa a quattro voci et salmi.

Après le succès de l’album “Les Feux d'Artifice” (plus de 700 000 exemplaires vendus) et une tournée triomphante de 90 dates sold out, retrouvez tous les tubes de Calogero sur l’album “Live 2015”, 2 heures de spectacle filmées par Ibao Benedetti à Bruxelles / After the success of the album “Fireworks” (more than 700,000 copies sold) and a tour triumphant 90 dates sold out, you can find all the tubes of Calogero on the album “Live 2015”, 2 hours of show, filmed by Ibao Benedetti in Brussels

Astounding modernity The 1782 premiere in Vienna of Die Entführung aus dem Serail brought Mozart unprecedented public and professional success. This dazzling triumph did not come by chance: with music placing the accent on exoticism and a libretto celebrating the ideas of the Enlightenment, the opera ran counter to contemporary prejudices concerning the Ottoman Empire. In championing a German national opera, Mozart gave an important place to the spoken dialogue, often severely cut, but fully restored and brought to life here to underline the astounding modernity of the text.

We have had to wait more than70 years to hear these three rarely performed pieces by Spanish masters on the same recording. Two of them are quintets written over a century ago, early in the respective careers of Enrique Granados and Joaquín Turina, which won them recognition both nationally and internationally. Written a dozen years apart (1895-1907), these two piano quintets display multiple affinities with the French chamber music of the period. At the same time, these masterpieces that are played all too rarely bear witness to the vitality of Spanish music at the dawn of the new century.

Some of the most famous English composers of the 17th century wrote pieces for the lyra viol, or even entire anthologies. These composers include John Cooper, John Jenkins, Christopher Simpson, Charles Coleman, and William Lawes. Due to the number of strings and their rather flat layout, the lyra viol can approximate polyphonic textures, and because of its small size and large range, it is more suited to intricate and quick melodic lines than the larger types of bass viol.

The brief period between 1888 and 1897, between the great cycles devoted to single poets and the songs on sonnets of Michelangelo, saw Wolf at the zenith of his creativity. That period saw the genesis of the songs later published in anthologies after Mörike, Eichendorff and Goethe. Although even the early songs before 1888 reveal no arbitrariness in the choice of texts, it is this concentration on individual literary figures that characterises the highpoint of Wolf s output.

Brahms wrote a vast number of lieder over a period of 40 years. The 200 or so he permitted to survive show just how important the genre was to his compositional process. The selection presented here illustrates the diversity of a corpus that features Heine (as with so many other composers), but also a wide variety of other poets whom he set to music with the same consummate skill as the ‘Four Serious Songs’ Op.121, the peak of his magnificent and highly individual output.

World premiere: the Fourth Symphony of Brahms without a conductor. Les Dissonances reinvent the musical practice through a participatory organization where all share the same artistic standards. Violin and orchestra are one, the interpretation of the work being carried both by solar violin David Grimal and intense listening to the structure of the work by all the musicians. The unique sound of this record is based on the use of period instruments by Les Dissonances, all brilliant soloists from major European orchestras.