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- RedTech MAG N°3 - May/June 2021
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- Starfire 6000 Invalid Gps Signal
- Preservation of Archives in Tropical Climates. An annotated bibliography
- Get TVPlayer Plus
- NAB2007 PRODUCT HIGHLIGHTS
- Annual Report 2011 - Ono
- Refer a friend scheme at Alive Gym
- NETIA Media Assist at NAB 2015
- Connecting the Virtual and KVM World with the ADDER Infinity 3000 at ISE 2020
RedTech MAG N°3 - May/June 2021
Posted by John J. Naxos 8. People used to call the American pianist and composer Louis Moreau Gottschalk the "Chopin of the Creoles," and for good reason. He was not only a sensation in the U. Gottschalk's New Orleans upbringing and Paris schooling were a perfect combination for the kind of then-new piano music he presented to his audiences, a half century foreshadowing ragtime, Scott Joplin, and jazz. Of the one hundred or so short piano pieces Gottschalk wrote, this disc includes sixteen of them, representing a varied roundup of his most-popular and most-influential works.
Filipina classical pianist Cecile Licad plays them with vigor, vivacity, and sensitivity, yet it's a performance style that may or may not have been what Gottschalk had in mind since there is no clear tradition of playing the man's music. By comparison, Alan Marks on a similar collection from Nimbus plays many of the same pieces at a slightly more traditional pace. In any event, Licad's sometimes leisurely, sometimes highly animated manner seems well suited to Gottschalk's more-lyrical and more-outgoing compositions.
So does "The Dying Poet," very well executed here for two reasons: Because the booklet note says it was the most-famous piano work of the Civil War era, an interesting facet of American musical life; and, as important, because it bears an uncanny resemblance to "After the Ball," the popular song Charles K.
Harris wrote in using virtually the same melody. Well, copyright laws were nonexistent in those days and Gottschalk was long dead, so who was to complain? Among the other pieces in the collection are "Pasquinade," a forerunner of twentieth-century jazz tunes, and "The Union," a paraphrase of national airs like "The Star Spangled Banner," "Yankee Doodle," and "Hail Columbia. Licad plays them all with intelligence and grace, although, as I say, it remains a question whether pianists of Gottschalk's day would have played them as she does.
The sound is very good, too, and one cannot go wrong for the modest price Naxos charges. However, while the Naxos disc sounds like a very good piano recording, the Nimbus disc I mentioned earlier sounds like a very good piano, period.
There's more air and more natural sparkle to the Nimbus recording, elements that set it apart from the ordinary, even if the disc does cost considerably more than the Naxos product. Decisions, decisions, all of them good ones. JJP To listen to a brief excerpt from this album, click here:. You can always expect a solid performance from conductor Sakari Oramo, particularly when he's conducting his own orchestra, the Royal Stockholm Philharmonic.
The question is whether Oramo's recording of Nielsen's Fourth and Fifth Symphonies is any better than a number of rivals who have already proved their worth, conductors like Blomstedt, Bernstein, Ormandy, Berglund, Horenstein, Jarvi, and others. The answer is a definitive, Who knows? Oramo's readings certainly appear competent, although I can't say they are as exciting, as sensitive, or as thoughtful as the ones from the competition.
Carl Nielsen was one of Denmark's most-prolific and distinguished composers, writing six symphonies, two operas, three concertos, and a ton of songs, hymns, cantatas, and orchestral, chamber, and keyboard music. He wrote his Symphony No. He gave it the title "The Inextinguishable," a name he said referred to "that which is inextinguishable" or "the elemental will to live.
These 'Inextinguishable' forces are what I have tried to represent. It doesn't quite develop the kind of intensity I'd like, but the conductor does play up the differences in tempo nicely as the music swells, ebbs, and flows. Still, a little more tumult might have helped to establish the context of the conflicts. The second movement Poco Allegretto , which flows uninterrupted from the first movement, is a kind of tribute to peaceful, bucolic simplicity, the sort of quiet and tranquility Nature ultimately seeks.
Here, Oramo well captures the mood and paints an appropriately sweet picture in leisurely style. The third and fourth movements return us to high drama, and it's here that I think I prefer Herbert Blomstedt Decca over Oramo. In the present performance, Oramo isn't quite as intense as Blomstedt, even though Oramo seems to move along at a slightly faster clip. I don't hear quite the emotional charge from Oramo that the music needs; instead, it appears more matter-of-fact, which isn't bad, mind you, just not as involving.
Sakari Oramo That said, Oramo nonetheless concludes the symphony on a properly victorious note, with a glorious drum battle at its climax. Nature does, indeed, triumph in the end; the Earth abides. And Oramo has his day. Nielsen premiered his next symphony, No. Because he wrote it just after the close of the Great War, he included in it elements of contrast, good and evil, war and peace.
Like No. Nielsen marked his Fifth Symphony in two movements and six segment notations: Tempo giusto , Adagio non troppo , Allegro , Presto , Andante un poco tranquillo , and Allegro , perhaps another indication of the somewhat enigmatic nature of the work.
While the Fifth Symphony is obviously a direct outgrowth of the Fourth , the Fifth Symphony is also a force unto itself. Anyway, Oramo expresses the tone of the music as well as most anybody. It's a more atmospheric piece than Nielsen's previous symphony in that it conveys more differing states of mind, sometimes moving from one state to another in surprisingly jarring ways.
Oramo maintains these transitions clearly yet smoothly, never allowing the music to sound merely like a series of starts and stops. Again, Oramo ensures that despite the music's rises and falls of energy, all ends in optimistic, life-affirming joy, the orchestra playing beautifully for him throughout.
As usual with BIS, we get a fairly detailed, highly dynamic, and reasonably ambient sound, at least from the two-channel SACD layer to which I listened. It's a mite closer than I expected, though, slightly thinner, and a bit less dimensional in terms of depth. Nevertheless, these are minor concerns when the midrange transparency is so good and the overall impact so pronounced.
Bass and treble extremes are adequate for the occasion, and the timpani sound splendid. Reference Recordings RR Sometimes I wonder how classical music fans manage to keep all the performers straight. I mean, I see monthly release sheets from every distributor of classical discs in the country, and I listen to five or six new recordings a week.
Yet even I can't keep track of who is recording what or who the stars are. For example, when I received the present album from Reference Recording, I saw the name "Joel Fan" in big letters at the top.
I had no idea if he was the composer or the soloist for the disc. I had to read the booklet to figure out that he is a talented young American pianist who has worked with Yo-Yo Ma and the Silk Road Project as well as debuting a few years ago on another Reference Recordings album. Anyway, on the current disc, Mr. Fan plays with considerable precision, the Northwest Sinfonietta lend him excellent support, and Reference Recordings produces its usual outstanding sound.
According to Mr. He is one of the most dynamic and accomplished musicians performing before the public today. He is consistently acclaimed for his recitals, recordings, and appearances with orchestras throughout the world.
His concerts attract a wide range of audiences, as he has eagerly embraced traditional piano literature as well as an eclectic range of repertoire, including new music commissioned especially for him, world music, and his own transcriptions.
Fan's engaging personality, technical assurance, lyricism, and sheer musicality win over audiences wherever he performs.
As a recording artist, Mr. First up on the program is the Fantaisie-Ballet by French composer, conductor, and organist Gabriel Pierne This work came early in Pierne's career, when he was only twenty-one, and Fan and company well demonstrate its youthful vigor and Romantic flair.
The soloist captures its light, elegant moments nicely and then fills it out with a grand and exciting virtuosity. The "Caprice Waltz" is another virtuosic piece, and Fan again demonstrates his dexterity in playing with seemingly ten fingers on each hand. Yet it is also a surprisingly delicate piece of music, with a wonderfully lilting rhythm that Fan and the Sinfonietta express as perfectly as one could imagine.
This "Grand Concerto Rondo" Chopin based on the style of a familiar dance in the Krakow area, and Fan and company handle it with a charming grace and refinement, with just a touch of twinkle. The work is quite popular so you'll find a lot of pianists have recorded it, but Fan does it up as well as anybody, smoothly articulate and cheerfully pulsating.
The fifth selection is Polonaise Brillante , a solo piano piece by German composer, conductor, pianist, and critic Carl Maria von Weber and later orchestrated by Franz Liszt. Typical of Liszt, the piece is full of bravura showmanship and heroic landscapes, which Fan executes with an unerring command. Critics often credit Gottschalk as a precursor of ragtime, itself a precursor of jazz.
This work, however, is energetically rhythmic in the manner of an Italian tarantella. It's dance tune swirls and whirls, with Fan hardly stopping to catch his breath. It's quite a lot of fun. His music is probably the most unique on the album, partly Romantic, partly modern, partly Joplin, partly Gershwin, and mostly descriptive, it is melodious, ambitious, and vivid. Fan, Chagnard, and the Northwest players appear to be having a great time with it, and the piece ends the program on a splendidly grand, celebratory note.
Producers Marina A. As always with an album engineered by "Professor" Johnson, we get above all a realistic presentation. We don't always get the most transparent recording in terms of ultimate or absolute clarity, but we do get a lifelike ambiance, a truthful sense of orchestral depth and dimensionality, a pleasant hall resonance, a quick transient response, a broad frequency range lows through the floor, highs shimmering endlessly , wide dynamics, strong impact, and plenty of air and space around the instruments.
The piano itself appears well placed in regard to the orchestra, neither too far out front nor too hidden away but part and parcel of the overall sonic picture. The recording sounds most natural all the way around. Taking place over Veteran's Day weekend, November 9 also marks the 76th anniversary of Kristallnacht — "The Night of Broken Glass" — the infamous night in when Jewish institutions and business throughout Nazi Germany and Austria were destroyed, and shards of broken glass littered the streets.
Zalis uses a powerful contemporary musical language to capture the essence of a story of hate, despair, and hope, with words drawn directly from stories of Holocaust survivors. Tickets: www. For more information, visit www. Bostridge, a noted interpreter of Britten's work, sings with "plangent poignancy and haunted intensity" The Telegraph, UK as the grief-stricken Madwoman in an immersive production, directed and designed by visual artist Netia Jones. Watch her in an exclusive video interview with Cal Performances.
Residency activities are planned on campus and in the community, including an artist talk with director and video designer Netia Jones moderated by Cal Performances' Associate Director Rob Bailis, on Friday, November 14 at p.
This talk is free and open to the public. Tickets for Friday, November 14 at p. Tickets are available through the Ticket Office at Zellerbach Hall, at , or at www.
The conductorless ensemble, which emphasizes artistic collaboration, democratic process, and rotating leadership, also performs Grieg's Holberg Suite, Op.
Orpheus performs this same program featuring Ms. The newly orchestrated Rest These Hands , originally composed for recorded layers of solo violin, is one of three new works that Orpheus Chamber Orchestra has commissioned this season as part of American Notes, its new commissioning initiative of works from composers who represent varied perspectives on American music.
In addition to the London-born, Chicago-based composer Anna Clyne, Orpheus has commissioned works to be premiered this season from Brooklyn-based composer-pianist Timo Andres and Turkish composer-pianist Fazil Say.
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By foregrounding solo performers, ETO hope to empower the artist at a time when freelance musicians are facing huge uncertainty. ETO will pick up where it left off at Snape Maltings, the final venue the company was able to visit on its cancelled Spring tour. ETO are taking every measure to keep audiences, artists and staff safe whilst on tour, and working with our venue partners to do so. Audience members are encouraged to get in touch with questions about visiting a show. The below repertoire, divided into three separate programs, is confirmed with additional repertoire to be announced in the upcoming weeks. In the course of an illustrated lecture on the mating habits of waterfowl, an ornithologist baritone Julien Van Mellaerts describes his oppressive marriage. Each song-like section of the drama describes a different species, and onto each he projects his own feelings — to the evident concern of his wife in the audience, whose bird-like coughs interrupt his lyric digressions.
Starfire 6000 Invalid Gps Signal
It lets you send and record single or multiple channels of stereo PC audio directly to and from Axia networks via Ethernet — no sound cards needed. Up to 24 channels of stereo audio can be sent simultaneously over a single CAT-5 Ethernet connection. And while these two words may sound the same, the differences between AES67 compliance and compatibility is huge. AES67, like all standards, can be minimally implemented. And when standards are minimally implemented, they minimally get the job done. Simply put, compliance means that every single aspect of the AES67 standard—like Unicast mode, for example—is met. This version is suitable for typical two-channel stereo playback or recording applications.
Preservation of Archives in Tropical Climates. An annotated bibliography
AVer, the award-winning provider of education technology and video collaboration solutions announces the launch of the VC Pro2 enterprise-grade video conference camera and speakerphone which transforms a meeting space into an effective collaboration haven. As part of its mission to produce and deliver enhanced content experiences for its over million streaming subscribers, the Beijing-based media organization has selected a suite of future-ready, IP-based live production solutions to support 4K UHD production of live entertainment shows. A firm advocate of Dolby Atmos for music mixing, UK speaker manufacturer PMC has been actively promoting the format to artists who might not otherwise have considered it is for their own projects. The decentralized wired and wireless intercom systems enable clear, reliable communications while also providing exceptional flexibility of configuration across campus at all sporting complexes, and multiple studios. VO's software-based dynamic watermarking technology is embedded and ready to use within IRDs and encoders from ATEME, enabling content owners and providers to precisely identify the source of video piracy leaks within various distribution channels.
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NAB2007 PRODUCT HIGHLIGHTS
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Annual Report 2011 - Ono
According to Netgem, the integration of a voice assistant , compatible with Amazon Alexa , further places SoundBox at the heart of the connected home Remember also September 7, : Netgem launches Music Avenue to enable connected entertainment in the home Netgem have partnered with Voxtok Music Ooredoo TV Go very similar to Netflix!
Refer a friend scheme at Alive Gym
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NETIA Media Assist at NAB 2015
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Connecting the Virtual and KVM World with the ADDER Infinity 3000 at ISE 2020
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