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Les forets - des forets primaires aux enjeux du XXIe siecle:
Frémeaux
CD
$32.99
Nov 21, 2025
Observer l'histoire de l'humanite à partir des forets, c'est la perspective enthousiasmante que propose le journaliste, conferencier et essayiste Laurent Testot, qui s'inscrit dans le courant recent et novateur de l'histoire environnementale. L'auteur retrace l'histoire de l'humanite, depuis la formation des premiers empires de l'Antiquite romaine, chinoise et indienne, jusqu'aux societes medievales et modernes, en explorant le lien qu'elles ont entretenu avec leu environnement et leurs forets. On decouvre que, des les debuts de l'histoire humaine, des societes ont rapidement epuise leurs ressources, ce qui a souvent contribue de maniere significative à leur declin, voire à leur disparition. Les forets constituent des ecosystemes vivants d'une grande complexite, essentiels pour garantir l'habitabilite de notre planete. L'auteur prend le pari qu'un enseignement de l'histoire des forets nous permettra de relever les defis environnementaux contemporains. Claude COLOMBINI et Patrick FReMEAUX Journalist, lecturer and essayist Laurent Testot offers an exciting perspective on the history of mankind from the perspective of the forest, as part of a recent and innovative trend in environmental history. The author traces the history of mankind, from the formation of the first empires of Roman, Chinese and Indian antiquity, to medieval and modern societies, exploring their relationship with the environment and their forests. We discover that, from the very beginnings of human history, societies rapidly depleted their resources, often contributing significantly to their decline or even disappearance. Forests are highly complex living ecosystems, essential to ensuring the habitability of our planet. The author takes the gamble that learning about the history of forests will enable us to meet contemporary environmental challenges. Claude COLOMBINI and Patrick FReMEAUX CD1 : PARCOURIR LES FOReTS, LEUR HISTOIRE ET LEUR eCOLOGIE - LE MeTABOLISME DE L'ARBRE - L'EMPIRE MAURYA - LES ROMAINS ET LES THERMES - L'HISTOIRE CYCLIQUE CHINOISE - L'HISTOIRE DE L'AMAZONIE. CD2 : LES FOReTS MeDIeVALES - LA DYNASTIE SONG - LES FOReTS DU NOUVEAU MONDE - LES FOReTS ET LA DOMINATION MARITIME - LES FOReTS À LA VEILLE DE L'INDUSTRIALISATION CD3 - LES FOReTS SOUS LA ReVOLUTION ET LA RESTAURATION - REBOISER L'EUROPE, DeFORESTER LES TROPIQUES - L'EXPERTISE FORESTIeRE JAPONAISE - LES CHOIX POLITIQUES AUTOUR DE LA FOReT AU XXE SIeCLE - UN ENSEIGNEMENT DE L'HISTOIRE DES FOReTS. CONCEPTION COLLECTION : CLAUDE COLOMBINI & PATRICK FReMEAUX
Irma Gonzalez: En Vivo, 1945-1965
Urtext
CD
$23.99
Jan 25, 2011
IRMA GONZÁLEZ LIVE • Irma González (s); 1 Plácido Domingo, 2 Giuseppe di Stefano, 5 Jon Vickers (tn); 3 Oralia Dominguez, 4 Aurora Woodrow (ms); various cond & O • URTEXT 189/90, mono (2 CDs: 141: 42) Live: 1945–65
PUCCINI Madama Butterfly: Che tua madre; Con onor muore. La Bohème: Si, mi chiamano Mimi; Donde lieta usci; Quando m’en vo. Manon Lescaut: In quelle trine morbide. Tosca: Vissi d’arte; 1 O dolci mani. Turandot: Signore, ascolta. MASCAGNI L’Amico Fritz: Son pocchi fiori. LEONCAVALLO Pagliacci: Ballatella. GIORDANO Andrea Chenier: 2 Vicino a te. BOITO Mefistofele: L’altra notte; Spunta l’aurora pallida. BELLINI Norma: 3 Mira, o Norma. MASSENET Manon: Adieu, notre petite table; N’est-ce plus ma main. Hérodiade: Il est doux, il est bon. BIZET Carmen: Je dis que rien. TCHAIKOVSKY Maid of Orleans: Adieu, forêts. VERDI La Traviata: Addio del passato. Aida: O patria mia. Requiem: 4 Recordare. Otello: 5 Già nella notte densa; Era più calmo? … Piangea cantando; Ave Maria. La Forza del Destino: Pace, pace mio Dio. VARIOUS Songs from Meet Me in St. Louis
The long, sad list of exceptional singers who made few or no commercial recordings, from Jean de Reszke to Gilda Cruz-Romo, is now extended by these remarkable live performances over a span of 20 years by Mexican soprano Irma González. Previously, she had appeared on one V-Disc (a Spanish song) and a live performance of the Beethoven Ninth Symphony conducted by Bruno Walter, though there exists one commercial recording: songs by Manuel Ponce and Silvestre Revueltas. This two-CD set of broadcasts and live performances, then, fills a void and introduces us to an operatic soprano of remarkable achievement and artistry. The comparison to Cruz-Romo is especially apt. Like Cruz-Romo, González sang everything from Mozart to Verdi and Puccini, and also like Cruz-Romo, González was more than just a voice, she was an exciting, musical, and consummate artist.
When she made her debut in 1939, Giuseppe di Stefano had not yet sung in public, Jon Vickers had not begun vocal lessons, and Plácido Domingo had not been born, yet she sang with all of them—and with Ezio Pinza, Cesare Valletti, Mario del Monaco, Cesare Siepi, Giulietta Simionato, Grace Bumbry, Ettore Bastianini, Sherrill Milnes, Oralia Dominguez, Boris Christoff, Richard Tucker, and Giuseppe Taddei. There’s a remarkable 1980 video (in color) on YouTube of her singing “In questa reggia” from Turandot, at age 64, with a wonderful Calaf named David Portilla. She worked with such conductors as Kleiber, Klemperer, Ansermet, Casals, Walter, Beecham, and Markevitch. Her voice combined the rich, creamy colors of Renata Tebaldi with the brilliant high range of Marisa Galvany, but she was a more intense interpreter than the former and a more musical and finished vocalist than the latter. In short, she had it all. As a teacher, her most famous pupil was tenor Francisco Araiza. She died in 2008 at the age of 92.
By and large, the singing on this two-CD set is simply extraordinary. It takes one’s breath away. The final phrases of “Vissi d’arte,” for instance, are sung exactly as written, without the usual breaks or distortions that sopranos “traditionally” throw into it. The “Recordare” from the Verdi Requiem, with the little-known mezzo Aurora Woodrow, shows off her melting legato; the Ballatella from Pagliacci and “L’altra notte” from Mefistofele display a fine trill. “O patria mia” showcases her faultless line and extremely musical phrasing. Only once, for me, does she disappoint: Her “Addio del passato” is the healthiest- sounding performance I’ve ever heard, too loud and too insensitive to text. Not bad for a soprano you’ve never heard of before.
Considering that this is a Mexican production, the transfers are fairly good. At least some attempt was made to remove some of the surface noise, but not much, and the high notes are somewhat distorted in places depending on the quality of the original. On CD 2, there are also four errors in transfer: The Hérodiade aria is pitched a whole tone too high, Micaela’s aria from Carmen a quarter-tone too low, “Adieu, forêts” a half-tone high, and the “Recordare” a half-tone low, but when the sound is clear and full, with no distortion or blasting, you can hear the voice in all its glory. The bonus track comes from 1945, when González traveled to New York to record as soundtrack double to Judy Garland in the Mexican version of Meet Me in St. Louis, oddly renamed The Wheel of Fortune. Not too surprisingly, the best conducting comes from the well-known names here: Oliviero de Fabritiis, Carlo Felice Cellario, Anton Guadagno, and Igor Markevitch. The lavish booklet is full of interesting photos, including one with a baby-faced, 21-year-old Domingo, but alas, the text is only in Spanish. Full recording data is on the inside back cover. If you are a lover of outstanding vocal art, this has to be the surprise issue of the year.
FANFARE: Lynn René Bayley
LES FORETS NATALES
Frémeaux
CD
$20.99
Jan 05, 2018
For an intimate understanding of a Kota reliquary or a great Fang mask you have to feel the fresh damp of the forest, the dull sounds in the vastness beneath the foliage, the lacy filigree of every different bird species combined with the symphony of animal groups in concert… in turn obeying the commands of variations in temperature, rain and wind. They represent a natural ode to the legitimate syncretism of nature and culture, because we are indeed in Nature. Pierre Huguet’s 1990 field recordings in the heart of the virgin forest constitute a sensorial experience for all those who wish to listen to the Congolese tree canopy of the sculptors of indigenous art. The forest of Man.
MARINES ET FORET DE GASCOGNE
Frémeaux
CD
$20.99
Sep 01, 2011
"Region by region, Fremeaux & Associes Geographic constructs a geography of sounds. It presents the listener with a series of authentic, unaltered landscapes without reconstruction or addition. The approach focuses on natural and technological soundscapes and the way these change with each passing hour or season or as the heavens open." Patrick FReMEAUX
Fremeaux & Associes Geographic baut eine Geographie der Töne auf, deren Region die Werkeinheit ist. Die CD bietet dem Gehöreine Folge von authentischen Landschaften, ohne Umwandlung, ohne Rekonstruktion und ohne Hinzufügung. Der Ansatz interessiert sich für unser Besitztum und ist auf natürliche und technologische Tonlandschaften orientiert, ihre Entwicklungen je nach Uhrzeit, Jahreszeit, die Niederschläge…
Fremeaux & Associes Geographic construye una geografía de sonidos, donde la región constituye la unidad de la obra. El disco propone escuchar una serie de paisajes autenticos, sin transformaciones, sin reconstrucciones ni anadidos. El enfoque pretende destacar el patrimonio y está orientado hacia los paisajes sonoros naturales y tecnológicos, y su evolución segun la hora, la estación, la climatología…
Fremeaux & Associes Geographic costruisce una geografia dei suoni, la cui regione e l’unitA d’opera. Il disco propone all’ascolto una serie di paesaggi autentici, senza trasformazione, ricostruzione o aggiunta. In questi paesaggi... L’approccio e patrimoniale e si orienta verso paesaggi sonori naturali e tecnologici, verso le loro evoluzioni a seconda dell’ora, della stagione, delle precipitazioni atmosferiche...
Fremeaux & Associes Geographic stelt een geografie van geluiden op, waarbij de streek een deel van het oeuvre vormt. Fremeaux & Associes Geographic brengt een opeenvolging van authentieke landschappen ten gehore, zonder vervorming, reconstructie of toevoegingen. De benadering is patrimoniaal en is gericht op natuurlijke en technologische geluidslandschappen, en hun ontwikkeling die afhangt van de tijd, het seizoen, de neerslag…
Romantic Music for Harp / Haas
Naxos
CD
$9.99
$19.99
Save 50%
Oct 13, 2017
This is an interesting and enterprising selection. There is no doubt that Pauline Haas is an accomplished harpist and she has chosen a programme that shows off the many-sided facets and interpretative possibilities of her instrument.
John Thomas was official harpist to Queen Victoria and was known as the Chief of the Welsh Minstrels. His doleful The Minstrel’s Adieu to His Native Land illustrates the traditional folk heritage associations with the instrument.
The Smetana Die Moldau transcription is much more impressive and one of the most successful pieces in this collection. The harp brilliantly evokes the fresh tinkling, sparkling thrills of running water through the gushing springs of the upper Moldau, its progress through rapids, and forests and plains and onto Prague. The music growing from light-hearted youth in character through to proud mature grandeur as it approaches the Capital.
The lyrical beauty of Tchaikovsky’s two pieces from The Seasons are beguilingly caught by the harp, especially so of the June Barcarolle.
Virtuoso harpist Albert Zabel, was solo harpist for the Imperial Ballet in St. Petersburg. His Fantasy on themes from Faust by Charles Gounod is the most substantial piece in the programme and it allows the instrument to show off its virtuoso and dramatic/melodramatic capabilities. The Faust themes he chose seem less familiar and it would have been helpful if Pauline Haas could have elaborated her otherwise splendid, if rather colourfully effusive album notes. Ms Haas suggests that this Fantasy ‘follows the tradition of pieces written for virtuoso performance and is inspired by fashionable tunes of the period’? Whatever, here the harp sings romantically and dramatically enough and the virtuoso challenges are eagerly surmounted.
Mendelssohn’s Prelude and Fugue in E minor is a formidable work half in the Romantic tradition but also definitely in homage to the influence of Bach. The Prelude, beautifully evocatively played, ‘is often compared to a river of tears’ and the Fugue transcends tension and anger to a beatific acceptance of death. An extraordinary piece nicely, sensitively transcribed by Pauline Haas.
Finally, there is a formidable challenge for Haas; her arrangement for harp from Liszt’s piano transcription of Wagner’s Liebestodt. She successfully creates an atmosphere of calm at the beginning and serenity at the close. The emotionally intense climb to the peak of passion, is fine to start with, with plenty of sound perspective and power but, to me, it loses momentum on the way up when there is a mood-breaking sag and pause. Nevertheless this is a brave and worthy attempt.
A small moan, occasionally there is some distracting and disconcerting background noise –the soloist breathing I understand. Nevertheless this is a most interesting and enterprising collection demonstrating the undervalued capabilities of the most romantic of instruments.
– MusicWeb International (Ian Lace)
John Thomas was official harpist to Queen Victoria and was known as the Chief of the Welsh Minstrels. His doleful The Minstrel’s Adieu to His Native Land illustrates the traditional folk heritage associations with the instrument.
The Smetana Die Moldau transcription is much more impressive and one of the most successful pieces in this collection. The harp brilliantly evokes the fresh tinkling, sparkling thrills of running water through the gushing springs of the upper Moldau, its progress through rapids, and forests and plains and onto Prague. The music growing from light-hearted youth in character through to proud mature grandeur as it approaches the Capital.
The lyrical beauty of Tchaikovsky’s two pieces from The Seasons are beguilingly caught by the harp, especially so of the June Barcarolle.
Virtuoso harpist Albert Zabel, was solo harpist for the Imperial Ballet in St. Petersburg. His Fantasy on themes from Faust by Charles Gounod is the most substantial piece in the programme and it allows the instrument to show off its virtuoso and dramatic/melodramatic capabilities. The Faust themes he chose seem less familiar and it would have been helpful if Pauline Haas could have elaborated her otherwise splendid, if rather colourfully effusive album notes. Ms Haas suggests that this Fantasy ‘follows the tradition of pieces written for virtuoso performance and is inspired by fashionable tunes of the period’? Whatever, here the harp sings romantically and dramatically enough and the virtuoso challenges are eagerly surmounted.
Mendelssohn’s Prelude and Fugue in E minor is a formidable work half in the Romantic tradition but also definitely in homage to the influence of Bach. The Prelude, beautifully evocatively played, ‘is often compared to a river of tears’ and the Fugue transcends tension and anger to a beatific acceptance of death. An extraordinary piece nicely, sensitively transcribed by Pauline Haas.
Finally, there is a formidable challenge for Haas; her arrangement for harp from Liszt’s piano transcription of Wagner’s Liebestodt. She successfully creates an atmosphere of calm at the beginning and serenity at the close. The emotionally intense climb to the peak of passion, is fine to start with, with plenty of sound perspective and power but, to me, it loses momentum on the way up when there is a mood-breaking sag and pause. Nevertheless this is a brave and worthy attempt.
A small moan, occasionally there is some distracting and disconcerting background noise –the soloist breathing I understand. Nevertheless this is a most interesting and enterprising collection demonstrating the undervalued capabilities of the most romantic of instruments.
– MusicWeb International (Ian Lace)
