A man uses the principles of double-entry bookkeeping to settle his accounts with society.
Guillaume Bouzignac (1690?-1743?) was not attached to the French Royal Court. His music was not published by Ballard, who held a royal monopoly on musical publication. He MAY have been a choirboy in Narbonne, a master of the choirboys in Grenoble, a musical servant of Henri Montmorency, governor of Languedoc at the time of the wars against the Huguenots, and a person of musical importance in the city of Tours, where the manuscript of these motets was discovered in 1905. That covers almost everything that's known about the composer outside of the very specific information about his musical thought contained in his works.
While Freemasonry's secrecy has always aroused distrust, its enlightened principles and belief in virtue, liberty, fraternity, and equality have attracted large numbers of intellectuals and artists; one of its most famous adherents was Mozart. However, his opera The Magic Flute was not the first to be inspired by its teachings but was preceded in 1749 by Rameau's Zoroastre. Its initial reception was so cool that Rameau and his librettist, Louis de Cahusac (a prominent Mason) undertook extensive revisions. The new version was produced–by coincidence or fate?–in 1756, the year of Mozart's birth, and became a great success.
In Glyndebourne’s first-ever staging of a opera by Rameau, director Jonathan Kent presents a production which, in his own words, ‘strives to appeal to every sense and show audiences how engrossing and musically ravishing French Baroque opera can be’. Rameau’s inventive take on Racine’s great tragedy Phèdre is brought to life by Paul Brown’s colourful and elegant designs and Ashley Page’s playful choreography. Ed Lyon and Christiane Karg give captivating performances as the titular young lovers, while Sarah Connolly, making a welcome return to Glyndebourne, ‘invests Phaedra with both grandeur and a desperately human vulnerability’ (The Independent). Leading exponent of early music William Christie ‘sets an exhilarating pace, galvanising the Orchestra of the Age of Enlightenment to playing of tremendous panache’ (The DailyTelegraph).
Best known as the frontman for early-'70s hitmakers Christie, singer/songwriter/multi-instrumentalist Jeff Christie's career long predated that band. In fact, his earlier group, Outer Limits, should have been just as big, if not bigger than Christie themselves. Formed in the dying days of 1963, the band released three singles, gigged incessantly, and took part in the legendary package tour featuring Jimi Hendrix Experience, Pink Floyd, and Amen Corner. Yet they never managed to land a hit or record an album. However the Outer Limits did leave behind a slew of demos before folding in 1968, 22 of which features on the first disc of this two-CD set.