A real fine mystery about a journalist named Freek who gets a letter one day. Now everybody gets letters everyday so not worth making a movie of this subject you think now. Strange thing is that the letter was posted more then 20 years before Freek was born. How could someone know where Freek should live more then 20 years later as a grown up ? Then more strange things happen,and one name is always returning : 'Joachim Stiller' Who is he ? What's his mission ? Is he an enemy or a friend ? Freek wants to know who that Joachim Stiller is and starts searching.
Depuis la disparition de son fils, le couple de Robert Stern, célèbre avocat berlinois, a volé en éclats. Un soir de pluie, l'une de ses anciennes maîtresses lui donne rendez-vous dans une friche industrielle désaffectée, à l'écart de la ville. Elle est accompagnée de Simon, 10 ans, atteint d'une tumeur au cerveau et, surtout, convaincu d'avoir été un assassin dans une vie antérieure. Impensable ! Et pourtant, sur les indications du jeune garçon, Robert découvre le cadavre d'un homme que Simon prétend avoir assassiné quinze ans plus tôt à coups de hache. …
GRAMOPHONE AWARD WINNER 2015 - BAROQUE INSTRUMENTAL RECORDING OF THE YEAR. This recording is the first time that the five-stringed Amati has been used to record the 6th suite and it is the only original five-string cello in existence in the UK and unique in being the only one by this maker. The Cello Suites are performed on two gut-string cellos Suite Nos. 1-5 on a Francesco Ruggieri from 1660 and Suite No. 6 the five-stringed Cremona cello by A. & H. Amati from c.1600, both tuned to Baroque pitch. Bachs cello suites are renowned as the pinnacle of the instruments repertoire and are performed here in period performances by the internationally acclaimed cellist, David Watkin. David Watkin has been performing Bachs Cello Suites in concert for 35 years, and Bachs unaccompanied cello repertoire has taken him all over Europe, from the Palace of Frederick the Great at Potsdam to the Prague Spring Festival, and, as part of Sir John Eliot Gardiner's Bach Cantata Pilgrimage, included performances sitting by the font in which Bach was baptised.
Even though Angela Hewitt's repertoire is quite extensive and diverse, encompassing the Baroque, Classical, Romantic, and modern eras, her true specialty is the music of J.S. Bach, which she has recorded almost exclusively for Hyperion since the 1980s. With this recording of The Art of Fugue, Hewitt completes her long-running series of piano renditions of the solo keyboard works, and while not everyone is convinced that Bach composed this study of fugal techniques for the keyboard, Hewitt's performance is credible and satisfying. She controls the often unwieldy counterpoint by regarding the lines as if they were vocal parts, and her phrases are shaped by natural breathing points, as well as the different emotional qualities she brings to each fugue and canon. The Art of Fugue can be daunting for both performer and listener because its persistent tonality of D minor and monothematic material can be quite tedious in the wrong hands.