Declaração Imposto de Renda

Une histoire de la propagande moderne de Pékin à Palo Alto et de Moscou à Paris. Etudiant ses fondements ainsi que ses mécanismes, l'auteur explique comment son perfectionnement est rendu possible par les avancées des sciences sociales et des neurosciences permettant l'amélioration des techniques de persuasion ou d'influence. …

German engineering has always been appreciated worldwide. It is innovative, technically sophisticated down to the smallest detail and makes life more beautiful. Attributes that also fully apply to the band De-Phazz founded in 1997 in Heidelberg. Created by the diligent sound collector and sample architect Pit Baumgartner, the „Godfathers of Lounge“ are the most reliable and pleasant German export commodity since the VW Beetle, and the most musically charming invention since the Fraunhofer Institute in Erlangen invented Mp3.

The prolific and long-running De-Phazz (also known as DePhazz) is a contemporary lounge project led by Peter "Pit" Baumgartner, a German-Austrian producer who has surrounded himself with a shifting cast of collaborators that includes vocalists Barbara Lahr, Karl Frierson, and Pat Appleton. Beginning with Detunized Gravity (1997), Baumgartner and company have explored various forms of lounge music, much of it balancing samples with live instrumentation, with innumerable cross-sections of vintage jazz and soul, easy listening, and Latin music.

In 1959, a family friend went to the home of Paco de Lucía and Pepe de Lucía where he made several recordings with a Grundig TK46 tape recorder. This tape disappeared in 1967 and, after a long search process, was rediscovered in 2022, when a restoration process started using AI tools. The historical value of this recording is incalculable and it gathers in 21 pieces an anthology of flamenco where most of its variants are represented (tangos, soleá, seguiriyas, bulerías…). It is, in short, the definitive recording to illustrate the transition from classical flamenco to modern flamenco as we know it today.

Henri Sauguet stampeded in the musical milieu when he was barely twenty, as co-founder with his mentor Erik Satie of the ephemeral École d’Arcueil. His orchestral music, inspired by the Six, is very French in tone: light, elegant, not demonstrative but straightforward. Sauguet earnt his biggest successes in ballet, his most revered score being the rarely recorded Les forains (The Carneys), choreographed by Roland Petit, empathic depiction of a modest troop of street artists. Featuring conductor Michel Plasson & coupled with the Tableaux de Paris, a set of lovely pictures of the most emblematic places of the capital.

Publiés dans la Revue des deux mondes, ces textes du père de la géographie moderne analysent les forces des belligérants sous un angle politique, social et géostratégique. …

This programme marks the eagerly awaited return of Véronique Gens to Baroque music and Lully, in which she made a name for herself at the start of her career. It presents airs from Atys, Persée, Alceste, Proserpine, Le Triomphe de l’Amour and other works by Louis XIV’s famous composer, but also several by Marc-Antoine Charpentier (Médée), Henry Desmarets and Pascal Collasse. Whether well known, rare or in some cases even unpublished, all of them present roles for powerful women whose love is unrequited: dark passions, bitter laments, jealousy, vengeance, the type of dramatic characters that Véronique Gens embodies with all the charisma that has made her reputation. This recording is also the result of an encounter with the youthful ensemble Les Surprises, founded and directed by Louis-Noël Bestion de Camboulas. Together they conceived this programme, which mingles airs, dances and choruses, in collaboration with the Centre de Musique Baroque de Versailles.