Ce Mémotech, largement inspiré de la démarche productique, met à la disposition des élèves, des étudiants et des professionnels un véritable outil de conception et de dessin.
Le public : Apprenants de français longue étrangère de niveau B1 à B2 du Cadre européen commun de référence, et tout public souhaitant connaître les différents aspects culturels de la France. …
Banques de données écrites et illustrées, dictionnaire technique, recueil de normes, de solutions couramment utilisées, de schémas, de tableaux de caractéristiques usuelles, de formules indispensables. Avec une mise à jour des normes (y compris la NFC 15 100 du 5 avril 1991) et des chapitres concernant la foudre, les habilitations, la sécurité du personnel, la gestion de l'énergie, etc.
Taken from the best Debussy cycle to appear in the CD era, these repackagings gather the items that one-disc-at-a-time buyers tend to miss. Playing combines flair, care, and great musical enjoyment. High points include the superb Anne Queffélec as solo pianist in the Fantaisie and some rare items: the Rapsodie for alto sax, the whimsical orchestration of La plus que lente featuring cimbalom, and piano pieces scored by other hands. The Ulster Hall acoustic is spacious but clear.
The reissue of keyboardist Claude Bolling's recordings of the 1960s may prompt a positive reevaluation of his contributions. Bolling has been known, at least outside France, mostly for the flute-and-piano works he composed for Jean-Pierre Rampal; his recordings with Rampal hit a certain popular groove and stuck with the formula. They were undeniably appealing in a simple way, but they became fatally overexposed. Bolling's earlier recordings reveal more imagination in his treatment of the relationship between jazz and classical music. Take for example this 1965 album, recorded in Paris. It's one of the few successful jazz treatments of Mozart, who is notoriously resistant to jazz treatment. The difficulty comes as a result of Mozart's reliance on harmonic rhythm, or the speed of the rate of change of the harmonies in the music. This feature seems impossible to capture in jazz, which heavily relies on regular chord changes, but Bolling's solutions here, making use of a classic jazz sextet, are brilliantly imaginative.
Brent Bourgeois was one half of the equation known as Bourgeois Tagg, a pop/rock band who had a small number of hits in the mid/late 80's, including "Mutual Surrender (What A Wonderful World" and "I Don't Mind At All". Critics were comparing Bourgeois to Paul McCartney and Todd Rundgren. As the band were preparing to record a third album, Bourgeois kindly left them to pursue a solo career. Some felt the huge success of "I Don't Mind At All" would lead to greater success for him. Unfortunately it didn't work out that way.