Hommage Arguerich Maiky

Original award winning score (Golden Medal, New York Festivals 1996 a.o.) from the acclaimed awarded movie by Ralf Schmerberg.
Ralf Hildenbeutel (born March 6, 1969 in Frankfurt am Main) is a German composer and producer. He was decisive role in the formation of musical style trance. Together with A.C. Boutsen (Matthias Hoffmann) and Stevie B-Zet (Steffen Britzke) he belonged to the permanent staff of the record label Eye Q Records. The Scene Magazine Front Page wrote in 1995, about 90% of all trance releases have the typical Q-Eye style as a template. Between 1991 and 1998 produced Ralf Hildenbeutel all publications of the star DJs Sven Väth…

Roxane Elfasci from Paris uploaded in 2016 her take on the classical composer Claud Debussy's biggest hit Clair de Lune. 5 years later the video have amassed 7M views and the comments from fans all over the world have been overwhelming. The channel is constantly increasing with followers. Roxane is a professional musician in classical guitar and has studied at schools such as the Aulnay-sous-Bois Conservatory and the Pôle Supérieur de Paris. In addition, she also has a degree in musicology from the Sorbonne University in Paris. At last Clair de Lune was released on DSPs early May and the track has already amassed over 500k streams. We can now look forward to an album, where Roxane continue to interpret Debussy’s music.

Présentation des extraits de pièces de Théâtre sélectionnés par Marine Jaffrézic en audio mp3 …

Raphaela Gromes grew up, as it were, with Rossini. While still a child in Munich, she went with her mother to the Bavarian State Opera. An “action with music” became an entirely natural form of narrative for her, with the operas of the Swan of Pesaro accompanying her throughout her childhood, when they were her favourite consolation and the source of her greatest happiness. “I wanted to thank him for everything that he has given me,” the violoncellist admits. She is now doing this with a striking selection of arrangements of arias and songs (nos. 1–5 and no. 9) as well as with Rossini’s own original piece for violoncello and piano (no. 7), a set of variations by Bohuslav Martinů (no. 6) and a veritable discovery in the form of Jacques Offenbach’s Hommage à Rossini for violoncello and orchestra (no. 8). The archaeological expedition that ultimately led to this spectacular find deserves a more detailed description on account of its labyrinthine character.