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She has now recorded hernew album on the organ at the NationalKaohsiung Center for the Arts (Weiwuying). It isan impressive instrument: Almost 10,000 pipes inover 120 registers, located in a twin organ. On theright-hand half of the stage is the great symphonicorgan, which recreates the aesthetic timbre of theFrench Romantic style. And on the left there is thesmaller \"echo organ\", oriented on the GermanBaroque repertoire. On this new album, IvetaApkalna has compiled a programme that unitesthe two organs by placing the focus on the FrenchRomantic style and making a brief foray to thefather of organ music, J.S. 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A student of Olivier Messiaen, CastÃ©rÃ¨de nonetheless forged a highly personal harmonic style within an extended tonal idiom, characterized by melodic clarity and accessibility. His compositions seem to harmoniously blend the various French styles of the 20th century. In his work, we hear the sonic fingerprints of Arthur Honegger, Daniel-Lesur, and his teacher Messiaen - all woven into a coherent, lyrical whole.Throughout his life, AndrÃ© Jolivet aimed to \"restore to music it's original, ancient meaning, when it served as a magical, incantatory expression of the religious beliefs of human communities.\"* His later compositions continued this exploration, seeking music's original function as an emotional, ritualistic, and celebratory form of expression. His Symphonie pour cordes, commissioned by French radio and television, was composed in 1961 and premiered on January 9, 1962. The symphony demands exceptional technical skill from all performers. It is written in a freely atonal idiom and is characterized by intense dissonance.Daniel Jean Yves Lesur (1908-2002) was a French composer, organist, and teacher, closely linked to the group La Jeune France, alongside Olivier Messiaen and AndrÃ© Jolivet. His music often reflects a balance between tradition and modernity, combining rich harmonic language with a sense of spiritual depth. Lesur's output includes choral works, chamber music, and orchestral compositions, yet he remains less widely known than some of his contemporaries.Among his instrumental works is the SÃ©rÃ©nade pour cordes (1949), a luminous piece that highlights his lyrical style and refined craftsmanship. 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His first record as Chet Faker in four years expands his previously established sound in thrilling new directions, with moonlit saxes recalling legendary acts like Prefab Sprout and the Blue Nile as well as the lush, breakbeat-laden pop of David Gray's classic White Ladder. 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