Il avait été repéré sur la scène gratuite du festival par un certain Claude Nobs, qui l’avait propulsé le lendemain...

Quatre ans après son dernier concert à l’auditorium Stravinski, le profil svelte et le costume trois pièces sont identiques. En...

Article inédit – Fanny Agostino A l’occasion de son passage à Neuchâtel pour un concert à la Case à Chocs,...

ENTRETIEN LONG FORMAT, Daniel Wittmer | Manager de nombreux artistes légendaires de la musique de ces cinquante dernières années, Raymond Gonzalez raconte son métier et des souvenirs inédits de son parcours hors-norme. Qu’on se le dise, il n’a rien à promouvoir ou à vendre ici: pas d’album, pas de single, pas de spectacle, pas de cendrier en bois de kamagong rapporté à l’été 1994 d’un marché tibétain. Outre sa générosité immense et son courage exemplaire, c’est un producteur hors du commun. Il a été le manager de Nina Simone pendant vingt ans. Rien que de l’écrire, ça vaut son pesant de cacahuètes, messieurs-dames. Dans le monde de la Musique (n’insistez pas, dans ce cas-là, le M majuscule s’impose tout à fait), il fait partie de ces êtres rares de l’ombre qui ont fait parfois naître, connaître, exister, «vivre ou survivre» des célébrités légendaires dans les milieux du jazz, du blues, du rhythm and blues et du rock’n’roll. Né le 13 novembre 1946 à New York où il y a grandi puis fait des études de droit, il est arrivé en Europe au début des années 1970, d’abord en Espagne quelques mois, puis à Paris. C’est à partir de là que son destin a pris des allures sensationnelles.

Unpublished article - Erica Berazategui Born in Biel/Bienne, Fanny Diercksen, or more commonly Phanee de Pool, has enjoyed sensational success,...

I'm a little embarrassed to think that Mozart is the classical composer par excellence, as opposed to the Baroque or Romantic composers. The word «classical» evokes regularity and order. But there's something original, profound and authentic in Mozart's music that doesn't quite fit in with classicism. This article, based on a lecture by pianist Jean-François Zygel, describes the subtle processes that explain Mozart's pre-Romanticism.

They're both 24, studying contemporary history at the University of Fribourg, and are among the most successful bands in French-speaking Switzerland this summer. Faustine Pochon and Arnaud Rolle, committed but not militant, make up the French-speaking indie pop duo BARON.E. Revealed in particular by the presence of their single Un verre d'égo in a playlist of the prestigious French magazine Les Inrocks, but above all by the quality of their work as measured by their listeners and spectators, the Dzodzets of the moment present us with their new EP Créature, comprising, like the previous one, five songs situated between pop, electro and progressive rock. They invite us to meet them on the rooftops of Fribourg, their home town, to talk about music and society.

«Rock Believer» expected in 2022

LONG-FORM ARTICLE, Jean-David Ponci | Member of the Supreme Soviet in 1947, General Secretary of the Union of Soviet Composers in 1960, Hero of Socialist Labor in 1966… These appointments, accepted reluctantly, were often merely a means of publishing articles in his name that he had not written, or of making him read speeches he did not approve of. This fits well with the totalitarian conception of power, according to which everything is at the service of the state. Shostakovich was supposed to be just another cog in this gigantic machine. How can an artist remain creative under such conditions? Shostakovich does more than simply respond to this dilemma; he embodies it through his very life. Just as a tightrope walker must submit to the laws of gravity if he is to survive, Shostakovich submits to the regime’s relentless laws, yet at the same time defies them by composing music that can be interpreted as a mockery.