Florian Ferrier

« Notre ami l’atome », fait le récit de la cohabitation forcée avec l’industrie nucléaire. En cinq chapitres et au fil de poignants récits de victimes, Kenichi Watanabe retrace un siècle de désastre sanitaire en dénonçant le silence et les mensonges d’État qui l’entourent.

When this performance was first released (on Bruno Walter Society LP No. BWS-742 in 1980) critic Mortimer H. Frank wrote in the USA journal Fanfare: I have always felt that Bruno Walter was at the height of his powers during the years 1941-54. This is well illustrated in this released Beethoven Ninth, recorded in concert on November 13, 1947. Those who never heard Walter in his prime may be shocked by this London performance in which the first movement has a fiery, tough tension at times suggestive of Toscanini. With stabbing, powerful accents, crashing fortes, and uncommon vigor, Walter insistently presses forward in a reading of thrilling drama and power The Scherzo (with neither of its repeats observed) dances with demoniac fervor, although its "trio" would have been more effective at a slightly faster trempo… this Beethoven Ninth reveals a conductor of trenchant kinetic urgency. Those who have doubted Walter's greatness may well change their view after hearing it.

Après le Petit éloge de la lecture et le Petit éloge de lecteurs, Pef fait planer ses lecteurs à bord de ce nouvel éloge volant.

Florian Uhlig's epochal project of a real complete recording of Schumann's piano work for two hands is approaching its Finale.

Florian Noack embraces the syncopated vitality of stride, the ironic tenderness of Berlin cabaret, and the poetic brilliance of the avant-garde.

Florian Noack embraces the syncopated vitality of stride, the ironic tenderness of Berlin cabaret, and the poetic brilliance of the avant-garde.

Fourteen years ago, the baritone Florian Boesch released a disc devoted to Schumann’s settings of the poet Heinrich Heine.