Nathy Peluso La Sandunguera

The young violinist Diamanda La Berge Dramm ventures to bridge music of the baroque with modern. In her GENUIN debut album, the Dutch artist interweaves the music of Johann Sebastian Bach and John Cage. In her collaboration with singers Michelle O'Rourke and Katinka Fogh Vindelev, the boundaries between singing and instrumental playing dissolve, and the production of sound itself becomes a highly exciting parameter. From the layers of depth in Bach's great Chaconne to the cobweb-thin tapestry of John Cage's genre-bending compositions, the violinist takes us on an exciting sonic journey that reveals her to be an artist who is as mature as she is inquisitive.

Four years after her boundary\-breaking album Bach Unlimited, pianist Lise de la Salle presents an extremely personal odyssey inspired by her love of the dance and her fascination with the period 1850 to 1950. More than just a question, Lise de la Salle’s ‘when do we dance?’ is an invitation to a voyage, ‘one that explores the different ways in which dance takes possession of the body’. A voyage in time, through a whole century (1850\-1950) with the accent on modernity; a voyage over the oceans, from North America to Eastern Europe, crisscrossing Argentina, Spain, France, Hungary and Russia; a voyage to the very core of rhythm, that essential anchor point for the dance as for music in general, that enlivens the ragtimes of Gershwin and Bolcom, Bartók’s folk dances, a waltz by Saint\-Saëns and a tango by Stravinsky.

Gisèle Halimi : Soixante-dix ans de combats, d’engagement au service de la justice et de la cause des femmes. Et la volonté, aujourd’hui, de transmettre ce qui a construit cet activisme indéfectible, afin de dire aux nouvelles générations que l’injustice demeure, qu’elle est plus que jamais intolérable. Gisèle Halimi revient avec son amie, Annick Cojean, qui partage ses convictions féministes, sur certains épisodes marquants de son parcours rebelle pour retracer ce qui a fait un destin. …

Michel Guérard est aux fourneaux depuis 70 ans. Il a tout traversé : les privations de la guerre, l'apprentissage à la dure, la tradition de la haute gastronomie française, l'aventure de la nouvelle cuisine, la mondialisation culinaire… La précision et la vivacité de ses souvenirs font de lui la mémoire de la cuisine française. …

Les papes, qui avaient quitté Rome pour Avignon depuis plus d'un siècle, inaugurent par leur retour en 1420 le triomphe de la société de cour. La cour de Rome, c'est au moins deux mille personnes qui administrent l'État le plus complexe, le plus cosmopolite de l'époque, gèrent d'immenses fortunes et instaurent un mode de vie brillant dont les fêtes, les fastes, le luxe ostentatoire marqueront profondément le siècle. Mais c'est aussi une cour érudite, dont les grands esprits novateurs, inspirés de vastes desseins, assurent la renommée de Rome "capitale des Lettres"…

Présentation des grandes théories de la communication qui souligne l'apport spécifique de la sociologie. …

Capella de la Torre is a German early music ensemble led by Katharina Bäuml, founded in 2005. In 2016 Katharina Bäuml and Capella de la Torre won the ECHO Klassik Ensemble des Jahres for their CD Water Music. In 2017 Capella de la Torre was awarded again with ECHO Klassik for the CD "Da Pacem" with Rias Kamerchor conducted by Florian Helgath. The ensemble is a wind ensemble, but has enlarged to include singers, lute, organ and percussion.

In the Seventeenth Century, Buxtehude and his contemporaries composed an innovative sacred repertory for solo voice, nurtured by Italian cantatas, rhetoric and drama, which brought renown to the Hanseatic cities of north Germany and inspired the young Bach.

Élisabeth Jacquet de La Guerre is one of the most remarkable female musical figures in history. Rarely has a woman composer garnered such esteem in her own time, and her success, rather than provoking resentment in the hearts of her contemporaries, inspired the utmost admiration. One has to give credit to the Grand Siècle, a unique period in this regard, for granting Élisabeth the respect she truly deserved. This recording features works seldom heard but nonetheless of exceptional quality, exemplifying two genres in which Jacquet de La Guerre excelled: the French cantata and the suite for harpsichord. In these, we can discover the intrinsic and timeless value of her artistry, regardless of the anecdotal aspects of the historical and social conditions in which they were created.