On the occasion of Maurice Ravel’s 150th anniversary in 2025, Un Tombeau pour Ravel presents a musical journey interweaving the styles of Ravel and the French Baroque, especially the works of François Couperin. The program of this CD revolves around Ravel’s Le Tombeau de Couperin, composed during World War I as both a tribute to Baroque composers and a memorial for his comrades lost in the war. This recording includes original works and carefully crafted arrangements for harpsichord, tracing influences from 18th-century French music, illustrating Ravel’s inspirations at the time of the piano cycle’s creation, and exploring the tombeau as an homage genre.

Booklet: EN, FR, ES

 In the latter half of the 18th century, the Portuguese court saw the emergence of distinctive instrumental practices within its sacred repertoire. Among these innovations were works composed for Holy Week that featured concertante violas but conspicuously omitted violins. This unusual instrumentation became a hallmark not only of daily court music but also of Portuguese music as a whole.

This tradition likely reflects the profound influence of Neapolitan music in Portugal, aligning with a broader practice of incorporating solo bass instruments to enhance the solemnity of liturgical occasions, such as Holy Week and All Souls’ Day.

One of the most notable composers of the Patriarchal Chapel to embrace this style was José Joaquim dos Santos. Born in Óbidos in 1747, he entered the Patriarchal Seminary in 1754, studying under the renowned Neapolitan composer David Perez. By 1763, Santos had joined the seminary’s teaching staff, where he remained a central figure until his death in 1801. His work exemplifies the rich interplay of local tradition and Neapolitan influence that defined this extraordinary musical period.

This second CD by the Real Câmara orchestra presents, in a world premiere, the Good Friday Responsories for two concertante violas, bassoon, cello and double bass

Booklet: EN, FR, DE, PT

Every country has a unique tradition of organ music, shaped alongside the instrument’s development through the centuries. Yet, much of this organ literature remains less familiar to wider audiences. To celebrate the restoration of the Klais organ at the Cathedral of Our Saviour in Bruges, Titular Organist Ignace Michiels presents a rich selection of Flemish organ works spanning approximately a century, from 1884 to 1961. Beginning with the warm Romantic tones of Joseph Callaerts, Michiels invites listeners to explore the works of composers such as André De Vaere, Edgar Tinel, Flor Peeters, Camiel Van Hulse, and Herman Roelstraete, while also demonstrating the splendors of this remarkable Klais organ.

Booklet: EN, FR, NL