La plupart des publications occidentales offrent une vision unilaterale et critique de Vladimir Poutine et de la Russie. Fremeaux & Associes propose une biographie nuancee de Vladimir Poutine par Jean-Robert Raviot, directeur du Master des etudes russes et post-sovietiques � Paris-Nanterre visant � contextualiser son action dans l'histoire et la geopolitique russe. L'ouvrage offre une vision equilibree des motivations du Kremlin et du soutien � Poutine, au-del� des critiques occidentales, pour mieux comprendre ses relations avec l'Occident. Patrick FReMEAUX Jean-Robert Raviot est professeur � l'Universite Paris Nanterre, o� il dirige le Master en etudes russes et postsovietiques et co-dirige la formation bilingue franco-russe de droit. Ancien directeur des Colleges universitaires francais de Saint-Petersbourg et de Moscou, il est specialiste de l'histoire politique de la Russie post-sovietique. Auteur notamment de de l'URSS � la Russie : la civilisation sovietique (avec Taline Ter Minassian, Ellipses, 2006), ou en 2024 Le logiciel imperial russe chez L'Artilleur. Most Western publications offer a one-sided, critical view of Vladimir Putin and Russia. Fremeaux & Associes is offering a nuanced biography of Vladimir Putin by Jean-Robert Raviot, director of the Masters in Russian and Post-Soviet Studies at Paris-Nanterre, which aims to contextualise his actions within Russian history and geopolitics. The book offers a balanced view of the Kremlin's motivations and support for Putin, beyond Western criticisms, for a better understanding of his relations with the West. Audiobook, in French. Patrick FReMEAUX CD1 - DE L'ENFANCE � LA TeTE DU FSB : L'ASCENSION D'UN LEADER : L'ENFANCE - UN GRAND SPORTIF - L'ENTReE AU KGB. CD2 - POUTINE AU KREMLIN : L'HeRITIER DE BORIS ELTSINE - UN HOMME D'ACTION - LE DISCOURS DE MUNICH : CRITIQUE D'UN MONDE UNIPOLAIRE - UN ReGIME TOUJOURS PLUS AUTORITAIRE. CD3 - LA MYTHOGRAPHIE : POUTINE, ANTI-OCCIDENTAL ? - PUTLER : GeNeALOGIE DE L'HITLeRISATION DE VLADIMIR POUTINE - SA VIE PRIVeE : UN SECRET D'eTAT - POUTINE ET L'ARGENT - QUEL HeRITAGE ?

This recording includes works by two leading Czech composers, both of them women. Vitezslava Kapralova (1915-1940) lived in the first half of the twentieth century, and the career of Sylvie Bodorova (b. 1954) has spanned the final decades of the twentieth century up through the most recent years of the twenty-first. Both composers have excelled in all musical genres, except that Kapralova's shortlife precluded her from exploring the world of opera, her final planned project.

Carpathian Tales is a project of the artist's heart that has been formed over two years. It represents a musical dedication to her second home Romania - full of personal stories and compositions that capture the spirit of the country and paint a multi-faceted picture of the Carpathians. Each piece is accompanied by it's own story. All works combine the unmistakable energy of folk themes, pure emotionality and show a varied spectrum from melancholy to dancing virtuosity. These are special arrangements and first recordings that come together on this album. For this album, Lelie Cristea also went in search of works that would be equal in beauty and character to the pieces by Enescu and Porumbescu. She herself was surprised by the musical treasures she found and her expectations were far exceeded. All the works are united by their expressive character, which is characterised by folk themes and a wide spectrum of colours. Sensual ballads give way to virtuoso character pieces that joyfully invite you to dance. What always attracts one almost magically is the emotional depth of the compositions. It is up to the performer and, of course, the listener to allow this completely and to immerse themselves in the respective work. Then the pulse of the works begins to connect with your own, and the journey begins. With Carpathian Tales and further planned concept albums, Lelie Cristea fulfils her wish to record and capture special works from classical, film and salon music in exclusive arrangements.

On this, the second volume of Magnificat's three-part project 'Lassus: The Alchemist', the ensemble explores the composer's Magnificat's based on motets. It is remarkable that, of Lassus's thirty-five Magnificat's based on polyphonic models, only eight draw musical inspiration from motets. But if these Magnificat's are relatively few in number, their musical quality and impact are outsized. Whether in Praeter rerum seriem, where he expands Josquin's motet into a formidable 250-bar Magnificat, or Aurora lucis rutilat, where he transforms his own Eastertide motet into a jubilant musical celebration, these works exemplify some of Lassus's finest compositional achievements. Inspired by the lavish musical resources of the ducal chapel in Munich, where Lassus worked from 1557 until his death in 1594, this album brings together voices and instruments in diverse combinations, enhancing the richness and variety of the scoring.

La peur souleve un paradoxe : elle peut soit pousser � agir et soit inhiber l'action. Par exemple, les travaux sur la collapsologie suscitent de tres grandes peurs. Gr�ce � ces alertes, certaines personnes ont pu changer de vie et trouve du sens, d'autres, au contraire, se sont sentis desesperes. Dans ce livre, nous resolvons ce paradoxe et balisons ainsi le chemin pour agir, � partir de la peur mais aussi de la joie. Pablo SERVIGNE & Nathan OBADIA. Ce cours enregistre par Pablo Servigne, collapsologue, et Nathan Obadia, Instructeur d'arts martiaux et therapeute, traite du r�le crucial de la peur dans nos vies. Peur de l'avenir, peur de l'echec ou du conflit, stress, eco anxiete, angoisse existentielle... la peur plane sur nos vies. Ils partent du constat que la peur, souvent percue comme paralysante ou negative, est en realite une source d'energie, de protection et de stimulation. Plut�t que de la fuir, les auteurs proposent de la transformer en alliee. Ils utilisent la metaphore du suricate, un petit animal constamment en alerte face aux dangers, pour illustrer notre systeme de detection des menaces. L'ouvrage explore le rapport � la peur � la fois au niveau individuel et collectif, soulignant que l'apprivoisement de nos peurs peut conduire � une societe plus apaisee et ouverte, plut�t qu'� une societe de contr�le et de securite excessive. en acceptant la peur, il devient possible de retrouver joie, liberte, et de repondre aux grands defis contemporains. Claude COLOMBINI FReMEAUX et Patrick FReMEAUX. This course, recorded by Pablo Servigne, collapsologist, and Nathan Obadia, martial arts instructor and therapist, deals with the crucial role of fear in our lives. Fear of the future, fear of failure or conflict, stress, eco-anxiety, existential angst... fear hangs over our lives. They start from the observation that fear, often perceived as paralysing or negative, is in fact a source of energy, protection and stimulation. Rather than running away from it, the authors suggest turning it into an ally. They use the metaphor of the meerkat, a small animal constantly on the alert for dangers, to illustrate our threat detection system. The book explores the relationship with fear at both individual and collective levels, emphasising that taming our fears can lead to a more peaceful and open society, rather than one of control and excessive security. By accepting fear, we can rediscover joy and freedom, and meet the major challenges of our time.

The name of the young Czech virtuoso Michaela Koudelkova should be committed well to memory. She has far more going for her than just the names of her teachers (Peter Holtslag, Erik Bosgraaf). She is a winner of the Tel Aviv Recorder Competition and a finalist of the York Early Music International Young Artists Competition in England, and her solo recitals have included an appearance at the prestigious Oude Muziek Festival in Utrecht. Her Supraphon debut, for which she has chosen masterworks by Handel and Corelli, showcases her uncompromising technique, but above all it shows her supreme musical sensitivity and her interpretive stylishness, including the ability to improvise, participating in the recreation of notated works. Of all the sonatas listed on the album, only one is intended for her instrument; the rest were originally for violin or transverse flute. Of course, a characteristic of the baroque era was great freedom in the choice of solo instruments, as is clear from period printed editions, and the recorder was very popular at the time. Besides the most common alto and soprano recorders, the recording also features an instrument with a darker timbre, the voice flute in D, which was popular in England, and the sixth flute, pitched an octave higher and often used for music played between acts of Handel's London operas. Besides sonatas by Handel, the soloist has also chosen three sonatas from Corelli's Opus 5. Over the centuries, the art of improvisation has been taught using the passaggi in the slow movements of the twelve violin sonatas in this iconic collection. The last and most famous sonata, "Follia", is the brilliant and rather experimental climax of the album, combining the creativity of the composer with that of the performers. Lightness, liveliness, spontaneity, bravura, intoxicating richness of sound - Michaela Koudelkova's exciting Handel and Corelli

The Wurzburg cathedral organist Stefan Schmidt studied with Daniel Roth and in this previously unpublished recording from 2002 proves himself to be an extremely sensitive yet technically virtuoso interpreter of Cesar Franck's famous Douze Pieces. The organ of St Peter's in Dusseldorf, built in 2001 by the Gockel company, where he worked as organist for several years, was designed without compromise according to the French symphonic model and is therefore ideally suited for this repertoire as one of the few such instruments on the right bank of the Rhine.

This set brings together twelve French-trained pianists performing thirteen French works for piano and orchestra of which ten are premiere recordings. Most of the performers knew the composers and worked with them and four works are performed by their composers. It's hard to imagine a more definitive view of this repertoire, recorded at a time when French pianism still had a very distinctive personal voice, and as such, these recordings, many little known, are a permanent legacy of their time.

Last instalment in Narratio Quartet revolutionary version of Beethoven's String Quartets. This last 4CD box contains all the likewise revolutionary late Quartets, from opus 95 until opur 135, never premiered until after Beethoven's death. Once more Narratio Quartet conveys a completely unheard account of these masterpieces, an interpretation different from all the others. On volume 2 (Middle Quartets, CC 72981). Fanfare (USA): "This is a truly special release that fully lives up to the promise of the Narratio Quartet's op. 18. It is a necessary purchase for all Beethovenians. " In the�shortlist of the Preis der Deutschen Schallplattenkritik DE). On volume 1�(Early Quartets, CC 72969). Recomendaro de Ritmo (SP). BBC Music Magazine (UK): "There is much to enjoy in the quartet's poised and stylish playing".

Dmitri Shostakovich is one of the indubitably great composers of the 20th century and left works of greatness in every genre, from the symphonies to opera, film- and light music, concertos, and, of course, chamber music. This collection offers a great overview of his contributions to that genre. It features a few favorites, like Rudolf Barshai's Chamber Symphony (arranged from String Quartet No.8), String Quartet No.1, and the Piano Quintet to lesser-known gems and rarely heard works for two pianos like the tiny, witty Tarantella or his dramatic, cinematic Concertino. It is capped with Alfred Schnittke's tribute to the master, the Prelude in Memory of Dmitri Shostakovich.

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The new CD by the Capricornus Consort Basel is dedicated to Georg Philipp Telemann - exclusively works for strings in a wide variety of scorings, sometimes with and sometimes without basso continuo. Each of them documents across various creative periods Telemann's fascinating wealth of musical ideas, his adept sense of form and style, his creative approach to tradition and his constant interest in artistic innovation. Added to this is a large pinch of humour, which culminates in the eponymous 'Gulliver's Suite': Telemann sets the adventures of Jonathan Swift's Gulliver on his travels to music in absurd time signatures: The dwarves appear in 3/32nd time with tiny note values up to 128th, the giants can only perform the (otherwise fast) gigue very sedately due to huge note values or Telemann refers to the mathematical interest of the islanders by representing the time signature as a formula. The Capricornus Consort Basel, highly praised for it's subtle and sensitive interpretations and decorated with prizes, allows Telemann's wealth of ideas to shine in a colourful way, which will hopefully convince even the last person who still thinks Telemann is a second-rate prolific writer of the opposite!

This recital by Jean-Francois Borras honours the fascinating history of the Opera de Monte-Carlo, the house that has performed more French repertoire than any other. Jean-Francois Borras, who received his initial training in the choir of the Monte-Carlo Cathedral and is an internationally-renowned ambassador of French vocal style, presents excerpts from works by Mascagni, Gunsbourg and Massenet that were composed for the Opera there. Raoul Gunsbourg was the director of the Opera de Monte Carlo (architect Charles Garnier) from 1893-1951 and the variety of his programming created the institution's exceptional renown. Borras sings arias from operas that he has performed on the stage of the Opera de Monte-Carlo, including Romeo et Juliette (Gounod), Manon, Herodiade, Werther (Massenet), Carmen (Bizet) and Les Contes d'Hoffmann (Offenbach), accompanied by the Orchestre Philharmonique de Monte Carlo under Pierre Dumoussaud, a young French conductor and specialist in operatic repertoire who is rapidly building an international career.

Emanuel Moor (1863-1931) was the son of an opera singer and cantor from Kecskemet, Hungary. He studied in Budapest with Robert Volkmann and then in Vienna with Anton Bruckner and the pianist Anton Door. And there is no doubt that the city on the Danube left it's musical mark on his work, as the three piano trios presented here reveal. However, the point of departure for this trilogy does not start with his composition teachers, but with another famous counterpart, Johannes Brahms, who inspired not only Moor but also many of his younger compatriots. The chamber music of Bela Bartok and Erno Dohnanyi also led him down a path to produce a wide spiral of unique structures and modes of expression with the piano always to the fore. The composer's brilliant mastery of this instrument is combined with the two string instruments to create exciting constructions.

The new album by pianist Ragna Schirmer tells the story about the blind composer Maria Theresia von Paradis. Louis Braille invented the tactile writing system for Maria Theresia in 1824/25. Ragna Schirmer plays on an original replica of a grand piano from the composers' time, built by the Greifenberger Institut. Maria Theresia's contemporaries Mozart and Haydn accompanying the repertoire list.