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The Trifonov phenomenon is back. And once is not customary, gives us an appointment far from the romantic lands which are dear to him, leaning against a family tree which draws its roots from
Jean-Sébastien Bach
. After Lang Lang, the Chinese wisp, in the Goldbergs, here is the Russian devil in
The Art of the Fugue
. His Bach is both full of lyricism and lightness. Superlative technique. But singing from cover to cover. An ode to life, far, very far from the mathematical reading that we still too often give of
The Art of the Fugue
.
Ode to life or death drive?
Björn Schmelzer
, of the Graindelavoix ensemble, leaves the question open when it comes to the songs of the last Josquin des Prés.
Tinged with melancholy, disguised as lamentations or tragicomic verses, they stretch to infinity in the compact and singular polyphonies of the Flemish vocal and instrumental group at Glossa.
In the rest of the news, another great resurrected
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