En France, environ 30 % des hommes souffrent d'une éjaculation trop rapide, tandis qu'à l'opposé d'autres éjaculent avec difficulté. Ce qui constitue dans les deux cas une source de souffrance et de frustration au sein du couple. Pourquoi les hommes jeunes éjaculent-ils souvent très vite ? Comment profiter de son excitation tout en contrôlant son éjaculation ? Quelles techniques fonctionnent ? Comment une femme peut-elle aider son partenaire ? Comment combler sa partenaire ? …
Beethoven’s Triple Concerto, completed about the same time as the Eroica Symphony, has suddenly become popular. One reason for its previous lack of popularity was the fact that three soloists cost three times as much as one normally expensive pianist, violinist or cellist. Another reason is that the work seeks to be a popular success, hence the Rondo alla Polacca with which it concludes. The piano part was intended for Beethoven’s patron and pupil, the Archduke Rudolph von Habsburg, and hence is less technically demanding than the composer’s usual pianistic writing, destined for himself. The standard CD (previously LP) of the work was a spectacular performance and recording made by EMI many years ago with David Oistrakh, Rostropovich and Richter with the Berlin Philharmonic under Karajan. It was opulently played with the BPO’s luscious sound, but has little to do with what Beethoven would have heard in 1804. Another choice was the version of Stern, Rose and Serkin (Sony), less lush and not so high-powered as Karajan’s.
Ernest Chausson’s death in 1899 in a bicycle accident robbed French music of a major talent. Almost his entire orchestral output fits on this extremely fine CD. Yan Pascal Tortelier’s performance of the richly romantic Symphony is the best since Munch’s Boston Symphony recording. Like Munch, Tortelier knows how to keep the music moving along–he’s only an insignificant two minutes slower than Munch for the whole work–without overindulging the more luscious moments, which in Chausson’s opulent setting really do take care of themselves. Even better, rather than some overplayed encore piece by another composer, the symphony is coupled with two very attractive, rarely heard tone poems and two charming orchestral excerpts from the composer’s incidental music to Shakespeare’s The Tempest. The orchestra plays with conviction, Chandos’ sonics are gorgeous, and if you don’t buy this disc, you’re missing out on some marvelous stuff.
Within 24 hours of hearing the violinist Joseph Szigeti playing Bach, Ysaÿe had made sketches for his own six solo Violin Sonatas, which constitute his single most substantial and remarkable work, drawing together influences as diverse as Gregorian chant, Spanish and Walloon folk music, French impressionism and, of course, Bach himself. These are virtuoso showpieces, but, as Philippe Graffin demonstrates, there is much in them that is yielding and gentle, such as the stately Sarabandes fromthe Second and Fourth Sonatas (the latter is dedicated to Fritz Kreisler) and the radiant evocation of dawn in the Fifth Sonata. Graffin adroitly negotiates these technical and expressive demands, and if there is an occasional lapse in clarity, it is compensated for by a compelling vitality.