Confronté depuis l’âge de six ans à des phénomènes paranormaux, Alain Joseph Bellet raconte dans ce récit autobiographique la naissance et l’évolution de ses facultés médiumniques, mais aussi ses difficultés à les accepter et à les partager. Une histoire jalonnée d’événements extraordinaires, qui semblent attester de l’existence d’un au-delà. …
Though it was the least well received by its intended dedicatee – Pablo de Sarasate – the third violin concerto of Camille Saint-Saëns has endured as one of his most popular concertos along with the A minor Cello Concerto and the Third Piano Concerto. The earlier two violin concertos, each written some 20 years before, are still noteworthy, lively concertos, but lack the same emotional impact and maturity of the seasoned B minor Concerto. What they may lack in depth is made up for with pyrotechnic virtuosic displays, perhaps explaining Sarasate's fondness. This Naxos album places the B minor Concerto first, ending with the C major Concerto, a program order that curiously seems to place the bigger "bang" finish at the beginning, closing with a less emphatic note.
Patrick Yandall is a jazz guitarist with a constant contribution to the music scene. Born in Bay City, Michigan, he found his luck in San Diego and L.A., where he has established himself as session musician. Besides performing on sessions Patrick is recording tracks for the Weather Channel and jazz Muzak that you hear in malls and other places. Patrick started his solo career with That Feels Nice (1994), followed by A Lasting Embrace (1997), Of Two Cities (2000), Back To The Groove (2001), From The Ashes (2003), Eyes Of Mars (2005), Samoa Soul (2006), New York Blues (2007), Laws Of Groovity (2008) and A New Day (2009). His new album is devoted to the smooth jazz genre and features besides multi-instrumentalist Yandell himself Marc Pierucci (keyboards, percussion, bass and drum programming) and Jeff Laakso (sax).
Following the two volumes of the Guide des Instruments, RICERCAR goes further into the knowledge of several instruments and their specific repertoire. It was in 1817 that the instrument maker Halary invented this instrument whose low register prefigures the tuba. Integrated into the orchestra by Berlioz, the ophicleide was also used in church to accompany the plainchant and quite present in military bands. But it also benefitted from a solo repertoire in the concerto genre as well as in chamber music. Patrick Wibart impresses with his total mastery of the instrument and the flexibility of his playing. To be discovered imperatively.