de Haske

L'histoire du cheminement de A. Einstein et de E. Schrödinger, pionniers de la révolution de la mécanique quantique, dans la recherche d'une théorie qui puisse décrire de manière cohérente et unifiée l'ensemble des interactions fondamentales. La vie et le travail de deux scientifiques dont les idées sont à l'origine de nombreuses découvertes actuelles. …

Massenet was not only the composer of Manon and Werther. In the shadow of his stage works slumber many mélodies decked out in subtle and delicate orchestrations, which we are delighted to revive here. These previously unrecorded works have been entrusted to a team of first-rate artists, most of them fervent champions of French poetry and its musical settings.

L'étonnement est cette capacité qu'il y a à s'interroger sur une évidence aveuglante, c'est-à-dire qui nous empêche de voir et de comprendre le monde. C'est à travers l'histoire de cet étonnement, toujours repris, que J. Hersch nous raconte comment la philosophie fut de tout temps actuelle. …

Histoire chronologique de la philosophie occidentale, classée et ordonnée par auteurs et systèmes philosophiques. Chaque chapitre est complété d'une bibliographie. …

In 1683, Michel-Richard de Lalande entered the Chapelle Royale as a sous-maître after receiving the support of Louis XIV in a formidable recruitment competition. Still only twenty-five years old, the young composer would swiftly become established as the King s favorite and ascend to the most coveted posts at court in a career spanning almost forty years. Above all, Louis included him in the consultations for the construction of the new Chapelle Royale, adjacent to Versailles Palace.

David Pohle was one of Heinrich Schütz's most talented pupils although, unlike his master, Pohle did not compose only sacred vocal works; he also created a substantial body of instrumental music, including some thirty sonatas for four to eight instruments and a number of ballet suites. Pohle was very much an heir to the polyphonic tradition and was certainly influenced by the playing of Italian violinists, and particularly so by Carlo Farina, who lived in Dresden at that time. Pohle not only made use of Italian influences but also adapted models from French dance music: this explains the great diversity of structures in these sonatas, which in some respects also herald the outbursts of the stylus fantasticus. This is a revelatory first recording of Pohle’s complete sonatas.