Gain new perspective on two of the greatest achievements of human culture—music and math—and the fascinating connections that will help you more fully appreciate the intricacies of both. Great minds have long sought to understand the relationship between music and mathematics. On the surface, they seem very different. Music delights the senses and can express the most profound emotions, while mathematics appeals to the intellect and is the model of pure reasoning.
Notre Dame de Paris is a French-Canadian musical which debuted on 16 September 1998 in Paris. It is based upon the novel Notre Dame de Paris by the French novelist Victor Hugo. The music was composed by Riccardo Cocciante (also known as Richard Cocciante) and the lyrics are by Luc Plamondon.
Since its debut, it has played in Canada, France, Belgium, Switzerland, Italy, Spain, South Korea and Taiwan. A shorter version in English was performed in 2000 in Las Vegas, Nevada (USA) and a full-length London production, also in English, ran for seventeen months. Popular songs from the show, such as Belle and Le temps des cathédrales have also been translated into Belarusian, Catalan, Czech, German, Lithuanian, Polish, Russian and English.
“Notre Dame de Paris”, according to the Guinness Book of Records, had the most successful first year of any musical ever.
The Nuns of the Abbaye de Notre-Dame de l'Annonciation, from a remote region of France near Avignon, won a worldwide search to find the world's finest female singers of Gregorian Chant. The search took in over 70 convents, including communities as far afield as North America and Africa. The Nuns' album will feature the most ancient form of Gregorian Chant, which the sisters sing eight times a day, and was the first music ever to be written down. The nuns’ album, Voices – Chant from Avignon, was intended for release before the Pope’s visit to Britain in September, but will now be released in November.
…MDG’s 5.1/stereo/2+2+2 recording, apparently the first in a new series of live recordings by these artists, is superb. It is spacious with a wide dynamic range. The sound reaches the listener from a midway position in the Beethovenhalle, Bonn, that in no way limits the impact of the massive tam-tam strokes and cymbals at the climaxes, yet allows the strings to exhibit a pleasing smoothness and bloom. There is no trace to be heard of an audience or applause at the end of a work that demands reflective silence following its conclusion.Those contemplating purchasing a recording of this supremely beautiful masterpiece should definitely add Blunier’s eloquent reading to their shortlist.