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    https://sophisticatedspectra.com/article/drosia-serenity-a-modern-oasis-in-the-heart-of-larnaca.2521391.html

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    Spectre de la Rose - Marin Marais, Sainte-Colombe: The Great Masterworks (1993)

    Posted By: ArlegZ
    Spectre de la Rose - Marin Marais, Sainte-Colombe: The Great Masterworks (1993)

    Spectre de la Rose - Marin Marais, Sainte-Colombe: The Great Masterworks (1993)
    EAC | FLAC | Image (Cue & Log) ~ 340 Mb | Total time: 68:23 | Scans included
    Classical | Label: Naxos | # 8.550750 | Recorded: 1993

    Naxos have stepped in enterprisingly and chosen a programme that is not only most attractive in its own right, but which also includes the key items used in the fascinating film about the conjectural relationship between Marin Marais and his reclusive mentor, Sainte-Colombe (Tous les matins du monde). Spectre de la Rose consists of a first-rate group of young players, led by Alison Crum, who plays in a dignified but austere style which at first seems cool by which is very effective in this repertoire. Le Badinage is perhaps a little stiff and unsmiling, but the key item, Marais’s eloquent lament for his teacher, Tombeau pour Monsieur de Sainte-Colombe, is restrained and touching. Good, bright, forward recording, vividly declaiming the plangent viola da gamba timbre.

    Stéphanie d’Oustrac, Héloïse Gaillard, Ensemble Amarillis - Portraits de la Folie (2020)

    Posted By: ArlegZ
    Stéphanie d’Oustrac, Héloïse Gaillard, Ensemble Amarillis - Portraits de la Folie (2020)

    Stéphanie d’Oustrac, Héloïse Gaillard, Ensemble Amarillis - Portraits de la Folie (2020)
    EAC | FLAC | Image (Cue & Log) ~ 323 Mb | Total time: 67:21 | Scans included
    Classical | Label: Harmonia Mundi | HMM902646 | Recorded: 2019

    Having been relegated to a moral space of exclusion and fear in the Middle Ages, madness subsequently became a major social phenomenon. Brought under control and personified as 'Folly' in the seventeenth and eighteenth centuries, it provided scope for social and moral criticism, leading composers and librettists to give it a prominent place on the operatic stage. Here Stphanie d'Oustrac and the Amarillis ensemble present its multiple facets, from seduction to passionate love, from despair to joy, revealing the underlying truths of humanity in the Baroque era.

    Sylvain Sartre, Margaux Blanchard, Les Ombres - Sémélé: Handel, Marais, Destouches (2014)

    Posted By: ArlegZ
    Sylvain Sartre, Margaux Blanchard, Les Ombres - Sémélé: Handel, Marais, Destouches (2014)

    Sylvain Sartre, Margaux Blanchard, Les Ombres - Sémélé: Handel, Marais, Destouches (2014)
    EAC | FLAC | Image (Cue & Log) ~ 415 Mb | Total time: 77:39 | Scans included
    Classical | Label: Mirare | # MIR260 | Recorded: 2013

    Mirare presents another fine recording by the talented ensemble Les Ombres, led jointly by group members Margaux Blanchard and Sylvain Sartre. Baroque music combines violence and gentleness, unity and plurality. This disc dedicated to the myth of Semele and Icarus combines music by Marin Marais, André Cardinal Destouches and George Frederic Handel.

    Jean-Paul Lécot - Marin Marais à l'orgue (2007)

    Posted By: ArlegZ
    Jean-Paul Lécot - Marin Marais à l'orgue (2007)

    Jean-Paul Lécot - Marin Marais à l'orgue (2007)
    EAC | FLAC | Image (Cue & Log) ~ 309 Mb | Total time: 67:22 | Covers included
    Classical | Label: Bayard Musique | S373741 | Recorded: 2007

    C'est à partir d'un “Avertissement” de Marin Marais lui-même, dans son IIe livre de pièces de viole (1701), qu'est née l'idée de cet enregistrement tout à fait original et inédit. En effet, il y invite les musiciens à ne pas jouer le pièces de viole seulement sur la viole : “J'ai eu attention en les composant à les rendre propres pour être joués sur toutes sortes d'instruments comme l'orgue, clavecin, théorbe, luth, violon, flûte allemande…”, et prié les interprètes de “se donner la peine de les mettre sur chaque instrument en particulier”. Il ajoute, dans l'“Avertissement” de son IIIe livre : “Il ne s'agira que d'en savoir faire le choix pour chacun des instrument” (et) remplir le vide entre le sujet et la basse afin de ne pas faire de mauvais sons, ce qui est une règle très essentielle à l'harmonie.”

    Paolo Pandolfo, Guido Balestracci, Thomas Boysen, Dolores Costoyos, Mitzi Meyerson - Marin Marais: Grand Ballet (2002)

    Posted By: ArlegZ
    Paolo Pandolfo, Guido Balestracci, Thomas Boysen, Dolores Costoyos, Mitzi Meyerson - Marin Marais: Grand Ballet (2002)

    Paolo Pandolfo, Guido Balestracci, Thomas Boysen, Dolores Costoyos, Mitzi Meyerson - Marin Marais: Grand Ballet (2002)
    EAC | FLAC | Image (Cue & Log) ~ 403 Mb | Total time: 69:45+20:48 | Scans included
    Classical | Label: Glossa | # GCD920406 | Recorded: 2001

    Grand ballet is an apt title for Paolo Pandolfo’s latest release, reflecting not only Marais’s predilection for dance music but also the fact that he was reported to play the viol ‘with his bow always in the air’. The same might be said of Paolo Pandolfo, whose lithe, balletic style and iridescent sound distinguish him from his peers. He’s supported, too, by a brilliant continuo group, whose daring, stylish realisations contribute to performances which are at once ebullient and intoxicating.

    Tempesta di Mare - Comedie et Tragedie, Vol. 1: Lully, Marais, Rebel - Orchestral Music For The Theatre (2015)

    Posted By: Designol
    Tempesta di Mare - Comedie et Tragedie, Vol. 1: Lully, Marais, Rebel - Orchestral Music For The Theatre (2015)

    Comédie et Tragédie, Vol. 1: Lully, Marais, Rebel - Orchestral Music For The Theatre (2015)
    Tempesta di Mare - Philadelphia Baroque Orchestra, conducted by Gwyn Roberts & Richard Stone

    EAC | FLAC | Image (Cue&Log) ~ 305 Mb | Mp3 (CBR320) ~ 162 Mb | Artwork included
    Genre: Classical | Label: Chandos | # CHAN 0805 | Time: 01:07:06

    The first volume of Tempesta di Mare's series on Chandos, Comédie et Tragédie, offers period-style performances of orchestral music by Jean-Baptiste Lully, Jean-Féry Rebel, and Marin Marais. The orchestral suites drawn from Lully's music for Le bourgeois gentilhomme, Rebel's symphonie nouvelle Les élémens, and Marais' suite from the tragédie en musique Alcyone give a taste of theater music in the court of Louis XIV and Louis XV, and these pieces show how inventive composers were with instrumentation and their combinations of dances with dramatic scene painting. Tempesta di Mare, which is also known as the Philadelphia Baroque Orchestra, gives bright and energetic performances, and the musicians have a fine sense of the swung rhythms, distinctive tone colors, and lively ornamentation in French Baroque music. The recording is clear and well-balanced, though the percussion in Lully's March for the Turkish Ceremony (track 4) is a bit startling, and the dissonant opening of Rebel's Le Chaos (track 13) has its own shock value. Highly recommended.

    The Purcell Quartet - La Folia, Variations on a theme: Corelli, Marais, A. Scarlatti, Vivaldi, C.P.E. Bach, Geminiani (1998)

    Posted By: ArlegZ
    The Purcell Quartet - La Folia, Variations on a theme: Corelli, Marais, A. Scarlatti, Vivaldi, C.P.E. Bach, Geminiani (1998)

    The Purcell Quartet - La Folia, Variations on a theme: Corelli, Marais, A. Scarlatti, Vivaldi, C.P.E. Bach, Geminiani (1998)
    EAC | FLAC | Image (Cue & Log) ~ 401 Mb | Total time: 68:22 | Scans included
    Classical | Label: Hyperion | # CDA67035 | Recorded: 1986-1987

    The tune known as 'La Folia' has fascinated many composers since the seventeenth century. Portuguese in origin, the word means 'mad' or 'empty-headed' and until the 1670s it indicated a fast and noisy dance in which the participants seemed to be 'out of their minds'. By the end of the century a new, slower form had developed which threw the accent from the first beat on to the second every other bar and slightly adjusted the harmonic structure to form the perfect symmetry which inspired Corelli to use it in the twelfth of his Violin Sonatas, Op 5. That famous work further inspired Vivaldi, C P E Bach, Alessandro Scarlatti and other composers to write variations on 'La Folia'—including even Rachmaninov (though his 'Variations on a theme of Corelli' seem to indicate that he thought the tune was by that composer).

    Christopher Palameta - Marin Marais: Suites for Oboe (2014)

    Posted By: ArlegZ
    Christopher Palameta - Marin Marais: Suites for Oboe (2014)

    Christopher Palameta - Marin Marais: Suites for Oboe (2014)
    EAC | FLAC | Image (Cue & Log) ~ 322 Mb | Total time: 58:38 | Scans included
    Classical | Label: Audax Records | ADX13702 | Recorded: 2014

    Known as an ardent defender of unexplored repertoire for the oboe, Christopher Palameta sheds light on the neglected – but not forgotten – “phantom” literature for oboe by Marin Marais. Six suites are presented in this world- premiere recording, Palameta’s 4t h solo CD and his first appearance on Audax Records. Intimately familiar with the French style, Palameta was awarded research grants in 2003 and 2006 by the Canadian government to re- establish these works into the oboist’s repertoire; this recording is the fruit of that research.

    François Joubert-Caillet, L'Achéron - Marin Marais: Troisième Livre de Pièces de Viole [4CDs] (2021)

    Posted By: ArlegZ
    François Joubert-Caillet, L'Achéron - Marin Marais: Troisième Livre de Pièces de Viole [4CDs] (2021)

    François Joubert-Caillet, L'Achéron - Marin Marais: Troisième Livre de Pièces de Viole (2021)
    EAC | FLAC | Image (Cue & Log) ~ 1,34 Gb | Total time: 04:20:24 | Scans included
    Classical | Label: Ricercar | # RIC424 | Recorded: 2017-2019

    Entre la publication du Deuxième Livre en 1701 et celle du Troisième Livre, dix années se sont écoulées et Marais s’est imposé comme compositeur de Tragédies lyriques. Mais, entre-temps quelques jeunes violistes, dont certains sont ses élèves, viennent de publier leurs premiers recueils de Pièces de Viole. Marais doit donc s’imposer comme étant toujours le maître du genre, exercice parfaitement réussi avec ce nouvel opus dans lequel il s’attache à proposer à son public des pièces plus faciles et d’autres plus exigeantes pour « contenter ceux qui sont plus avancés dans la viole ». Le style a également changé : aux suites traditionnelles les pièces de caractère apportent un complément de plus en plus important…

    Hille Perl, Lee Santana - Marin Marais: Les Voix Humaines (2007)

    Posted By: ArlegZ
    Hille Perl, Lee Santana - Marin Marais: Les Voix Humaines (2007)

    Hille Perl, Lee Santana - Marin Marais: Les Voix Humaines (2007)
    EAC | FLAC | Image (Cue & Log) ~ 304 Mb | Total time: 73:22 | Scans included
    Classical | Label: Deutsche Harmonia Mundi | 88697169212 | Recorded: 2007

    Viele versuchen es, aber wenige erreichen es: das Kunststück, als Popkünstler und Alte-Musik-Experten zu gleicher Zeit authentisch zu wirken. Dass sie zu denen gehört, die es erreicht hat, macht Hille Perl zur Ausnahmekünstlerin. Mögen sie und ihr Partner Lee Santana sich auch inszenieren – in ihrem Spiel gelingt der stets schwarz gekleideten Rotweinliebhaberin eine so vollkommen natürliche Verbindung zwischen Sinnlichkeit und melancholischer Endzeitbetrachtung, dass moderne und barocke Lebenslust, heutige Weltflucht und barockes Memento mori zu einem Lebensgefühl zu verschmelzen scheinen.

    Spectre de la Rose - Marin Marais: Viol Music for the Sun King (1995)

    Posted By: ArlegZ
    Spectre de la Rose - Marin Marais: Viol Music for the Sun King (1995)

    Spectre de la Rose - Marin Marais: Viol Music for the Sun King (1995)
    EAC | FLAC | Image (Cue & Log) ~ 343 Mb | Total time: 68:54 | Scans included
    Classical | Label: Naxos | # 8.553081 | Recorded: 1994

    The second Naxos collection from Spectre de la Rose is even more attractive than the first, and it is even better recorded. It even includes a rare work in which the violin takes the lead (the Sonate à la Marésienne), although the embroidering gamba partner takes the lion’s share of bravura. It is a most attractive work and is played here with real sparkle, while the following Suite in D also shows Marais at this most attractively inventive. Les Voix humaines is deeply pitched, and even the Couplets de folies is far from light-hearted. Spectre de la Rose are experts in this filed and play most persuasively throughout.

    Eugénie Lefebvre, Étienne Bazola, Zachary Wilder, Thibaut Roussel, Mathilde Vialle - Visages d'Orphée (2023)

    Posted By: ArlegZ
    Eugénie Lefebvre, Étienne Bazola, Zachary Wilder, Thibaut Roussel, Mathilde Vialle - Visages d'Orphée (2023)

    Eugénie Lefebvre, Étienne Bazola, Zachary Wilder, Thibaut Roussel, Mathilde Vialle - Visages d'Orphée: Cantates de Clérambault, Piroys & Rameau (2023)
    EAC | FLAC | Image (Cue & Log) ~ 329 Mb | Total time: 62:16 | Scans included
    Classical | Label: Château de Versailles Spectacles | # CVS088 | Recorded: 2022

    Behold Orpheus, the singing shepherd who braved the Underworld to bring back Eurydice. The only human to conquer death, this famous Thracian bard is the hero of the French cantatas that flourished between 1710 and 1730. They paint a picture of the faithful husband’s burning ardour and pleas, his hypnotic song that won over the King of Darkness, his furtive glance that would forever rob him of his beloved; these are miniature operas, their intense poignancy rendered by the chamber choir that magnificently envelops the singer. This fine team masterfully weaves a tapestry of emotions, the early gems of the Rocaille period, offering a sequel to the Coucher du Roi with which they gifted us two years ago. This truly is the spirit of Versailles.

    Jérôme Hantaï, Pierre Hantaï, Alix Verzier - Marin Marais: Pièces de viole (1997)

    Posted By: ArlegZ
    Jérôme Hantaï, Pierre Hantaï, Alix Verzier - Marin Marais: Pièces de viole (1997)

    Jérôme Hantaï, Pierre Hantaï, Alix Verzier - Marin Marais: Pièces de viole (1997)
    EAC | FLAC | Image (Cue & Log) ~ 413 Mb | Total time: 72:16 | Scans included
    Classical | Label: Virgin Veritas | # 5 45266 2 | Recorded: 1997

    There is nothing left wanting in these performances. Hantaï and Verzier both display adroit virtuosity, possess warm tones but distinctive approaches, and share a telepathic sense of interplay, all excellent qualities in these intimate chamber works. Brother Pierre Hantaï on the keyboard sticks with them throughout, following them even in the most tempo rubato-saturated Sarabande. The lion's share of the pieces here are in the standard stylized Baroque dance forms, but Marais' expressive melodies, pungent harmonies, and highly individual take on the forms make each piece unique.

    Christophe Rousset, Hugo Reyne - Musiques à Danser à la Cour et à l'Opéra (1995)

    Posted By: ArlegZ
    Christophe Rousset, Hugo Reyne - Musiques à Danser à la Cour et à l'Opéra (1995)

    Christophe Rousset, Hugo Reyne - Musiques à Danser à la Cour et à l'Opéra (1995)
    EAC | FLAC | Image (Cue & Log) ~ 575 Mb | Total time: 52:04+54:01 | Scans included
    Classical | Label: Erato | 0630 10702-2 | Recorded: 1994, 1995

    Here is a very special recording devoted to early 18th-century dance music for which we have recently rediscovered choreographies from the period. Such a discovery may well come as a surprise, since it is not generally realised that, long before the proliferation of various 20th-century systems of dance notation, an earlied system had already been invented and them forgotten, only to be rediscovered within the last few years.

    Jean-Louis Charbonnier - Marin Marais: Les Voix Humaines, Deuxième Livre (1701), Deuxième Partie (2010)

    Posted By: ArlegZ
    Jean-Louis Charbonnier - Marin Marais: Les Voix Humaines, Deuxième Livre (1701), Deuxième Partie (2010)

    Jean-Louis Charbonnier, Paul Rousseau, Mauricio Buraglia, Pierre Trocelier, Hélène Decoin, Philippe Suzanne - Marin Marais: Les Voix Humaines, Deuxième Livre (1701), Deuxième Partie (2010)
    EAC | FLAC | Image (Cue & Log) ~ 678 Mb | Total time: 61:38+61:36 | Scans included
    Classical | Label: Ligia Digital | Lidi 0301218-10 | Recorded: 2010

    Un disque qui s’inscrit dans l’intégrale des pièces de viole de Marin Marais, comprenant deux suites en ré majeur et sol majeur avec, en particulier, la très belle pièce intitulée Les voix humaines, toute d’intériorité et de gravité, hymne à la voix humaine et à l’instrument qui, à l’époque, s’en approchait le plus, la viole. La viole, seule, ou associée à d’autres instruments, la musique en général qui transcende la parole, qui enhardit, qui bouleverse, charme et aide à vivre ce compositeur admiré de la cour du Roi Soleil et de l’Europe entière, qui s’interroge sur les questions fondamentales de la vie, de la mort, du destin. L’essence des autres pièces est, avant tout, celle des musiques de danse, rythmées et jubilatoires. Une musique parfaitement interprétée, des danses mais aussi une méditation qui est un des moments forts de l’œuvre de Marin Marais.