Wednesday, September 30, 2009

Mac With Polaroid Lcd Tv

Colombian Vice President


The following is an excerpt from the interview Vice President of Colombia, Francisco Santos, published in the English daily El Pais on October 1 this year. The fact that, in its reply, the words "fight" appear in brackets indicate that Santos failed to answer the question and the Yuma journalist piously Gómez-Cornejo included, playing their intentions to avoid appearing to say that Colombian security forces - God save me! - are involved in extortion ...


P. However, recent police operations have revealed the activities of the bands formed by former paramilitaries, who practice extortion and kidnapping.

R. The abduction issue continues to decline. As for extortion, we are becoming more efficient, because we have assembled a very large institutions to combat abduction, some task forces and intelligence so great that many of them are now virtually dedicated to [fight] extortion.

Tuesday, September 22, 2009

Macramé Bottle Pattern

Mussorgsky-Ravel: Pictures at an exhibition

Like other composers Russians of his time, Mussorgsky received a musical education was very incomplete and official and military officer most of his life. This lack of academic constraints pushed him toward the vivid immediacy, the wealth of fantasy and the sharp delineation of the variety of images that offers "Pictures an Exhibition, "which contains his impressions of paintings by Hartmann an almost bewildering suddenness. In 1913, Ravel and Stravinsky were commissioned by Diaghilev employer to complete the opera" Khovanshchina "which Mussorgsky had left unfinished. The conductor Serge Koussevitzky considered the work of Ravel entirely appropriate and asked the orchestration of Pictures, whose first performance was at the Opera de Paris on October 19, 1922. The technique of orchestration of Ravel was the result of hard study, interviews with teachers, the experiment, the time devoted to rehearsals, " The alleged improprieties are pure shock Mussorgsky of genius, very different from the mistakes of a writer who has no sense of language or a composer who lacks harmonic sense. " Seemingly limitless resources of the modern orchestra never failed to intrigue, and its results represent a natural extension of the capabilities of each instrument. Nobody seems to have had a finer ear for balancing the instrumental inventiveness or possess more rare and subtle combination of tone and color. But perhaps what is most remarkable is his complete identification with the spirit and meaning of Mussorgsky's original (remember that it had been almost 50 years), resulting in a new and different composition, of the twentieth century.

The effective orchestral score are required by the addition of the string section, 2 flutes, piccolo, 3 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, alto saxophone, 4 horns, 3 trumpets, 3 trombones, tuba, 2 harps, timpani, bass drum, cymbals, celesta, snare drum, xylophone, bells, Chinese gong, triangle, ratchet, and whip.


I must thank the kind assistance of fellow Leiter in his phenomenal detailed analysis of the numbers that make up the suite:

- Promenade: The opening theme (Alternate time signature of 5 / 4 and 6 / 4) is exposed by the trumpet soloist and answered by a fanfare of metals. On this occasion mainly Russian incorporate strings and wood complementing and developing the theme that goes through a 3 / 2 strongly reminiscent corals. This theme will be cyclical throughout the work and could describe the author's wandering through the gallery showing the paintings.

- Gnomes: In 3 / 4 and tempo alive. Represents a lame dwarf moving in a grotesque way. A quick plea on the ropes, answered in a phased manner by woods and down with prominent in all of the celesta, gives way to a second theme in 4 / 4, heavy, threatening, exposed by the timber and which opposes the first item with violent breaks. A rough melody is drawn by the horns and wood on a chrome downward violas and cellos, to immediately pass to trombones and tuba, now with the colors of violins. Then, on bassoon trill notes and bass clarinet, the first step of defense plea (precious metals dissonances) culminates in a rapid scale up bursting into a dry line of Sun

- Promenade: Now is the tube who explains why, with the dialogue of wood, so that first and second violins (In octaves) draw a motif ritardando upward.

- The old castle is an Italian landscape overnight. In 6 / 8, expressive, on a persistent rhythm of the lower strings centered on the note G, the saxophone recites a beautiful melody in the manner of a minstrel song. After a response from the muted string of masterful poetic evocation, the subject passes through the flute and develops bold harmonies. Finally, the sax takes the reason cantabile guard with an unexpected sharp basses, cellos unattached, ending with a sustained note after a pizzicato chord.

- Promenade: Again the trumpet presents the subject, the more heavy, in B major, harmonized by the lower strings a hint of counterpoint.

- Tuileries: The table describes a few children playing in the famous Parisian park. A whimsical melody is drawn by the oboe and underlined by the flute. The meandering of the lines is joined by the clarinet, which leads to another reason given by the violins and beautifully adorned with wood then takes center stage.

- Bydlo: The table represents a huge Polish wagon pulled by a yoke of oxen. The issue, painfully heavy, in 2 / 4, is presented by the tuba solo in a pounding rhythm and bass strings timber. After some disturbing pictures on the rope, the band takes the main theme in a powerful rhythmic crescendo by the timpani and snare. Tuba again takes the topic to be closed in original underscore pianissimo with a muted horn.

- Promenade: The theme of the trip is now exposed by flutes, clarinets and oboes, in a climate that takes tension with the dark metal line and the transition to the topic minor mode in the string.

- Ballet of the chicks in their shells: In 2 / 4 and B flat major, the theme is developed as a charming colorful orchestral miniature. It happens a trio with dissonant trills in the violins that is complemented by the oboe and then by the flute to resume after dancer theme.

- Samuel Goldenberg and Schmuyle: The dialog box represents a between rich and one poor Jew: violins on the G string and wood exposed to a menacing unison in B flat minor issue that is mirrored in triplets for a reason submitted by the muted trumpet in his high register and is backed by the long notes and with less intensity noise of the woods. After an up-down double scale, the trumpet, which is added a second in the eighth, hammering an incessant rhythm on which is attached, so masterful, the rich Jew tiresome theme in the strings. After a passage of eerie calm, the number ends with an orchestral unison.

- The market for Limoges: The painting portrays a women arguing in a market. In 4 / 4 and E flat major, this number is an exercise in orchestral virtuosity anthology, with a succession issue by violins, wood and metals that are fighting, they joke and interact with each other, and which is joined by the percussion in the middle of all the holiday revelry. After a very rapid dialogue between all sections, an eerie tremolos persecution accelerated over the whole orchestra culminates with the first chord of the next issue.

- Catacombae sepulchrum Romanum: The drawing shows the Hartmann own review in the light of a lantern the catacombs of Paris. In 3 / 4, a long line of trombones and tuba gives way to a dark coral metal is developed through and tied notes open harmonic dissonances. Some dynamic contrasts leave a hollow sound the trumpet a mysterious hovering soon absorbed by the rest of the horn section. The number ends up again with sharp dissonances.

- Cum mortuis mortuary in lingua: (Talking to the dead in the language of the dead). Mussorgsky is a license, a reflection on the previous issue. Acute and pianissimo tremolos of the first violins muted down a mysterious background on which first oboes and bassoons then outline a melodic theme related to the Promenade. The atmosphere is quite important, leading to a step major mode, soft and relaxed, which is magically nestled in the ascending notes of the harp. The number ends in pianissimo on a sharp note tremolos Fa prolonged by the first violins.

- The hut on chicken legs: Hartmann's drawing was a clock in the form of the legendary Russian witch Baba-Yaga. Mussorgsky added the witch hunt in the score. Two dry orchestral hits, rhythm and bass drums give way on the lower strings a rhythmic motif that is installed on the first theme, stated by the trumpets in triads and chords chopped brilliantly answered by horns and percussion. After an orchestral development, moves into a mysterious atmosphere in which a second reason is drawn by bassoon and then tuba on a background of sixteenth notes in the woods. After a pianissimo chord (with a subtle touch of gong), the orchestra returns to the dry line of the introduction and recapitulation of the first theme that culminates in a mad dash to ...

- The Great Gate of Kiev: The table represents an architectural project consisting of a monumental gate topped with a cupola. Start with a low coral woods and metals, in 4 / 4 and E flat major, distantly related to the Promenade. After the restatement, solemn and glorious, added strings and percussion, comes a soft issues dealt with clarinets and bassoons which ends with another explosion choral conductor, sheltered by Scales upstream and downstream of first and second violins. Presentation of the second theme in clarinets and bassoons that ends in a beautiful atmosphere, set by the ringing of bells, which paves the way to the glorious recapitulation. The issue now is the Promenade, which after an orchestral hit the scales are drawn down in the ropes, explode majestically in the closing stages of the work, are prominent in percussion.



course must begin with the records due to Serge Koussevitzky himself in front of his Boston Symphony (Naxos, 1930). Amalgam the individualized character of the pieces in a compelling compendium of strong ("exaggerated?) personality, and tempi extremely lightweight (less than 30 minutes). Elastic rhythms, clumsy and careless metals. Sound for that era: frequency narrow, congested in the climax. As genuine historical document, but this work demands modern engineering. The radio version broadcast in 1943 is sadly crippled, as it omits four innings.







The great rivalry of the golden age of the recording was that of the RCA Living Stereo vs. Mercury Living Presence. So high was the level achieved by these magical productions that the records of today pale in the meeting yardarm to yardarm. I refer to the evidence: The rich timbre of the metals of the Chicago Symphony under the direction of Fritz Reiner (RCA, 1957) is already evident in the Apollonian Gnomes, steely lines, while Bydlo threat and heartbreaking loss in his hands . Jews clarity of texture, balance, rhythmic precision, power, brilliance, meticulous dedication to detail. The recording quality is legendary with realistic details such as the impact of the drum, the breath of the professor of tuba, or the rustle of pages of the score (!). At the same level of excellence is making a noise almost physical presence and depth (these strings expressionist Gnomes) in the register of Antal Dorati (Mercury, 1959) with the Minneapolis Symphony.







http://rapidshare.com/files/284025409/ Mussorgsky_Pictures_Dorati.rar





is preferable to the first recording of Herbert von Karajan with Berlin Philharmonic (DG, 1966) to the prior (Philharmonia Orchestra, EMI, 1956) or the second season (also with the BPO, DG, 1987). If horns of nightmare swarm Gnomes, deliberate expressive difference oboes and flutes of careful scored a dynamic Tuileries. Cavernous last walk and challenging in the uncontrolled vibrato that gives the trumpet a unique Schmuyle monstrous violence. Clarity on the line, refined attention to detail, unbridled sensuality sound tones and textures. Superb sound that betrays even a (nearly) inaudible hiss in the background.








Carlo Maria Giulini (DG, 1976) es el más elegante en la batalla entre grupos instrumentales de la Sinfónica de Chicago, en las inflexiones, rubatos, el sentido tonal. Tempi más amplios de la habitual (y variables como en Tullerías, donde el juego agógico es sencillamente perfecto), Ballet juguetón en las maderas, majestuoso en la Gran Puerta, que tiene perfume a incienso, a himno sacro. La percusión es inusualmente clara y prominente. Preferible a sus otras grabaciones: BBC (1961), de peor sonido, confuso ambientalmente; y Sony (1991) donde ahonda en la lentitud de los tempi.







Nervosa version of Georg Solti leading the Chicago Symphony (Decca, 1980). Aptly gritty and torn in the Old Castle. At the sharp timbral differentiation in Ballet's still a sarcastic Catacombs. Great, great not the Great Gate. Making it sound more brilliant atmosphere.







Philharmonic New York has again demonstrated its power with Giuseppe Sinopoli (DG, 1989): Wood Gnomes acidic, which shows new details on harp and metals, distinguished by the broad tempo. Desolate landscape around Old Castle and the wonderful contribution Bydlo tuba. The flatness of the dynamics of the roughness Jews seems to miss the dialogue of orchestral masses, and this is, in short, the ultimate feeling of the record, the reluctance to exploit the magic (dark) of the score, to let her lead to a delicious mix of instrumental detail. Making transparent sound but somewhat distant.






course, Sergiu Celibidache (EMI, 1993) have said that this document is not even a reflection of what actually occurred (and, of course, would have vetoed its publication) but the alchemist, Wizard of bells, waving his kaleidoscope and produces a huge variety of colors, a constant play of light and shadows, transparency, detail and dimension to give all a natural articulation, a prodigious and tension control plane (Wagner aroma Catacombs) , some color clashes brilliantly brought to light (never was so pathetic figure Schmuyle). Under his leadership the Philharmonic Munich was able to progression dynamics of infinitesimal stages (what a way to slip the ropes in Cum mortis). Applause and coughs minimum set out in a recording of great presence and clarity where time is abolished and the music flows.



Interpretations of Paintings in the tens. Here I will try to summarize some others that I used: The spontaneous and maybe something hit Rafael Kubelik (Mercury, 1951), Arturo Toscanini (Green Line, 1953) located at anchor dynamic indications in the score (always mezzoforte), Ernest Ansermet (Decca, 1959) brings to the fore the percussion instruments, harps and celesta, making threatening environments; Thomas Schippers (Sony, 1965) extends the silence to let the echoes die out, getting an extra supply. Distressing the request of the Jewish trumpet, Serge Baudo (1969) makes little difference in tempo (color) for marking the score, Evgeny Svetlanov (1974) rough, sharp, perhaps too neutral line Mravinsky. Danceable highlights the character who knows remove the Old Palace how to move Bydlo pushed through the mud, and how the conversation between the Jews leads to a bitter debate punctuated by percussion is not prescribed by Ravel, Edo de Waart (Philips, 1974) chooses tempi too cautious; epidermal Leonard Slatkin (Mobile Fidelity 1975); weak sound scenery of Lorin Maazel (Telarc, 1979), Riccardo Muti (EMI, 1979) found new sounds with fierce scratching the strings and the detachment of the bass clarinet in section 9 in Gnome. However, a disappointing Bydlo viewed from home, love the fireplace in the master, Charles Dutoit (Decca, 1987) lacks violence expressionist accents and dynamics; André Previn (Philips, 1986) was showing off, without the glitz needed to score, Claudio Abbado (DG, 1993) displays an impressive analysis (a point aseptic) orchestral dissection. Takes amazing live sound and endless dynamic, in the Gnomes of Casadesus (1994) Oh! not hear the strings crawling "sul tasto bow , one of the magical moments of orchestration; sosísimo attempt to Simon Rattle (EMI, 2007) lacks dynamic struggle, spirit.


Upon request - At request

Monday, September 21, 2009

Mario Kart Wii Blueprint

The fight (no ground) for control of the pre-salt




Leo in the Folha de Sao Paulo a story that leaves me ice cream, three opposition deputies had separate amendments to the draft submitted by the Executive Branch and that are related to how to exploit the wealth oil found in the geological layer of pre-salt, with identical wording and addressing the interests of large private sector companies.

The "cloning" of the ideas expressed there is what is most striking about the proposals made by parliamentarians José Carlos Aleluia (DEM, the political heir of the military dictatorship from 1964 to 1985), Eduardo Sciarra also the DEM or the Democratic Party, and Eduardo Gomes, of the PSDB (Social Democratic Party), which has among its ranks José Serra, the current governor of St. Paul and the candidate with greater intention to vote, of 28 to 39.5 % of preferences, according to various polls, the presidential elections of October 2010.

The Brazilian Institute of Oil, Gas and Biofuels (IBP), which includes the main oil companies in the area, confirmed, meanwhile, who had contacts with the leadership of at least eight games in Brasilia to get them interested in their opinions. But he denied authorship of the amendments "cloned", although it was recognized that the wording of these coincide with their findings.

The IBP is chaired by Joao Carlos Franca de Lula, of the English company Repsol, one of the leading multinationals in the sector. Who acknowledged that there were parties willing to fully comply with their views, while others "were analyzing."

The key amendment that the three deputies signed, ignoring the details of presenting the same paragraph as if born of their creativity, says quote: "The legal provision of a monopoly or market reserve for Petrobras (the company whose main shareholder is the state) is not justified in any hypothesis. "

"A counselor lazy" Eduardo Gomes

admitted that the amendment was given to him by representatives of the sector. "I have contact with all associations, all the IBP, Sindicom (distributors of fuels and lubricants). I have no shame in relation to such assistance, "he said, arguing also that the identical texts may have been the result of a" consultant lazy. "

other hand, and putting the patch before the injury, he stressed that no campaign donations from these companies. Although it took them, he said, the electricity sector, on which it has legislated in areas that relate to its regulation.

The trouble is that their colleagues can not say the same. Folha investigated this and found that the group of companies directly affected by the four bills that define the rules for pre-salt exploration, donated a total of 28.5 million reais (14 million) to candidates to Congress in the 2006 elections. And that 30 percent of the current senators, including several of the PT, Lula's ruling party, a fierce defender of Petrobras-received funding in the sector.

The question that arises then is as follows: Legislature by the people through their representatives or companies legislate through Parliament that somehow, remain captives and hostages of their influence, as they reached their positions with financial support which might suggest the requirement of charges once elected?

In modern liberal states have recognized the need to legally regulate the lobby-that is, the activity of lobbying by some companies of "communications" for specific private interests. And this is not advance a reprehensible or unethical activity, if carried out in a transparent and public. Lobby

without intermediaries

But what happens when the work of provision of good offices is not completed even by third parties but by the same power groups who see their interests threatened? What is beyond any kind of scrutiny, that is not, as in this case, a careful and vigilant press? Is that legitimate? Is it valid to allow a practice that can lead ultimately to the policy oligarchization?

only missing to complete the picture, a couple of additional data:

● Besides the end of Petrobras' monopoly in the operation of new fossil fuel fields under the seabed (140 thousand square kilometers) , private advocate, among other things, reduced Petrosal power (the state gerenciaría the new model) in the exploratory committees and to the requirement that Petrobras has a minimum of 30% stake in all new wells.

● Of the 742 amendments submitted to government projects on the subject, 318 relate to the proposal to change the current system of grants from the fields, established in 1997, during the government of Fernando Henrique Cardoso's social democratic, by the cast (" partilha " in Portuguese), in oil exploration; system, incidentally, guarantees a good piece of cake to Petrobras. ●

Analysts estimate that the opposition, led by the "Tucano" PSDB, led in turn by Serra, seeks to avoid an ideological clash with President Lula, who would give tray a nationalist discourse on the eve of an election year. Besides, Serra himself, that is, to those who know him, a "tax expert" is not too far from Lula's oil program, which has argued that the discovery of the riches of the pre-salt opens the doors of a "second independence" in Brasil, allowing you to pay its huge public debt.

● Last but not least: As multinationals have organized to lobby in favor of his pocket, the Association of Petrobras Engineers (Aepet), in alliance with the workers of the oil giant, which took a long time in the big leagues in the sector also is bidding on his own words in the coming discussion in Parliament. In fact, submitted a proposal that plainly seeks to take up the state oil monopoly. As in the second government of Getúlio Vargas (1951-1954), when it coined a phrase that even now strikes hard in the collective unconscious of the Brazilians, " O é Nosso oil."

Tuesday, September 8, 2009

Ovulate Contraceptive

bet Is Brazil a member of the exclusive nuclear club?


Recent visit of French President Nicolas Sarkozy to Brasilia, where he took part in national day celebrations in Brazil (September 7), was crowned with the announcement of a strategic partnership between the two countries will be stamped with the purchase of submarines and fighter Gauls by a significant amount of money.

Figures released by the press indicate that the plan of acquisition of four Scorpene conventional submarines and the hull of a nuclear powered submarine will have an initial cost of around 8,500 million euros, equivalent to 11,000 million dollars, even when English newspaper El Pais makes up that amount to U.S. $ 12,317 million.

year France in Brazil could be held in a better way. This amply justify a second visit to the Planalto Sarkozy in a year, this time accompanied by eight ministers.

was not for less, if the purchase of submarines is added to the news that the Brazilian Air Force purchase 36 Rafale fighters, displacing two powerful competitors, the F-18 Gripen Americans and Swedes, with an estimated value 4 billion euros (U.S. $ 5,160 million), depending on the kit of weapons that attach to them, which makes up the overall package of sales to 12,500 million euros (16,250 million).

The astronomical figures in dance is broken down in many ways.

journalist Igor Gielow, the Folha de Sao Paulo, published this detail: four conventional submersible at a rate of 415 million euros each, giving 1,660 million euros, integration of a reactor at a Brazilian nuclear submarine hull: two billion more, the development of a special base and a shipyard to build ships in the harbor of Sepetiba, in Itaguaí (Rio de Janeiro), as has transpired, " administered by a joint venture between Brazil's Odebrecht and French DNCS: thousand 800 million more, over one billion euros extra in 'unclear heading "(the quote is from Gielow) of" technology transfer ".

The numeral gives a total of 6,400 million euros, to which must be added 1,850 million that are paid by the purchase of 50 transport helicopter EC-725, to be distributed among the three branches of the armed forces. The helicopter, whose delivery date is planned between 2010 and 2016, will be materialized by the consortium formed by the Brazilian company Helibras and Eurocopter, a subsidiary of EADS group.

Numbers do not add to the analyst

Janio de Freitas, however, the figures quoted above-especially those relating to the agreement by the submarines - "do not correspond either to a third of the military draft, which cost ten or 20 years was cited, as fast as possible, in 20 billion, it is unclear if real, dollars or euros. Neither are true quantities of arms above, as exemplified by the spread of the reported 32 fighters, which are so low, more than 130. "

resonant Not satisfied with this report, published in the Folha September 6, De Freitas, who has been acid-tongued critic of the purchase of French submarines at the expense of the Germans that the Brazilian Navy has today, to find them expensive and useful still unproven, says that "20 billion will be announced, in fact, more than 200 billion dollars in total spending (Defense) intended for the next ten years. "

The commander of the Navy, Admiral Julio Soares de Moura Neto, countered, in turn, these arguments, calling them "seller's talk." For the naval chief, Chile and India are very satisfied with their purchases of Scorpene. And the IKL-214, German submersible sold, for example, to Turkey, costs, in its view, as well as the Scorpene: that is, around 430 million euros per unit.

dollars more or fewer dollars, it is certain that the Brazilian press has highlighted, unanimously, the great leap forward that these purchases represent armaments. Overcome, by far the purchase of British battleships in the early twentieth century, the American ship, after the end of the Second War and even in terms of percentage of GDP is higher than the agreement reached in 1975 with Germany for technology transfer peaceful nuclear.

Politically, this means that Brazil, an emerging power, want to have a military presence compatible with his status as the only BRIC Western and Christian, and without nuclear weapons.

The other clear message from this alliance is that Brazil and France are united, not necessarily against the United States, but a better balance of forces internationally. And at the regional level with Colombia and Peru emphasizing its dependence with respect to Washington, and a trailing Venezuela allies neighborhood, influenced by the discourse "Bolivarian" to the vector Russia-Iran, Brazil is trying to escape forced options and bet against the unipolar world. Shielding

Blue Amazonia

Not only that, from the discovery of huge oil fields, located under the guise of the so-called pre-salt, there is the challenge to monitor and maintain a territory of more than 140 thousand square kilometers , which extends from Espiritu Santo in the north to Santa Catarina in the south. An area that, according to Lula recalled in his speech to the nation on September 6, is coextensive with the state of Ceará.

A real jewel in the crown, which is nestled in a sea of \u200b\u200bjurisdiction of 4.5 million square kilometers, the area that the Navy has called the "Blue Amazonia." Bringing up, on the other hand, in a veiled anything, how the Brazilians have always felt threatened its sovereignty over the other Amazon: the green, on which the eyes of many NGOs and foreign powers have rested with undisguised appetite.

Why, some say, then, a nuclear submarine, when what is required is quantity rather than quality, in terms operating platforms? The answer is simple: these ships have greater autonomy of movement. No need to surface to recharge their batteries and motors, but self-sustaining for longer periods of time under the surface and this enhances their surprise appearance in the most unexpected places.

Moreover, the project will have capacity to plan, build and operate both conventional and nuclear submarines, by 2021, would transform Brazil into the new member of a select club that currently has only six known membership: U.S. Russia, China, France, Britain and India.

nuclear armament is no longer taboo

This determines also that there are those who openly proclaim in letters if not already here when it comes to being a nuclear power in its fullness.

So says the magazine Carta Capital in a recent report (September 2, 2009): "Brazil can aspire to greater leadership in the world without mounting a modern and formidable military arsenal, including at least dominate the manufacturing process of an atomic bomb? "

fact: Professor Eurico de Lima Figueiredo, president of the Brazilian Association of Defense says unmitigated following in the same journal:" Personally, I think in five or ten years, society will say whether or not a nuclear bomb, regardless of whether we are signatories to the Treaty on the Nonproliferation of Nuclear Weapons. It is a natural step in our nuclear independence. And that will be discussed by civilians within democratic rules. "

is no coincidence, therefore, that the initialed cooperation agreements with France in recent times with three dimensions: defense, economy and issues related to nuclear energy. That is why these agreements falls, for example, the need to revisit the works of the Angra 3 plant and mutual cooperation for the exploration of uranium.

The plans of the Brazilian government, as stated in publicly, it is noted that there the idea of \u200b\u200bbuilding up to 25 new thermonuclear plants in the next 24 years.

This position is reinforced by the Member and historic leader of the PT, José Genuine, who declares: "Our interest is to master the technology for peaceful purposes. Mastering the cycle of production (enriched uranium), expressive gains can bring to our industry. " Clarifying, of course, at the same time, the Brazilian defense policy is deterrence, not confrontation. "

Tuesday, September 1, 2009

Best Place To Go On Senior Week

Mussorgsky: Pictures at an exhibition

One of the closest companions of Modest Mussorgsky was Victor Hartmann, an architect and occasional painter, whose sudden death at 39 was deeply affected by the musician. His anxiety was increased by guilt, because he had been walking with Hartmann few weeks ago when the artist was forced to stop and rest against a wall, and Mussorgsky downplayed the issue.
The following year (1874) as an exhibition in honor of Hartmann: its four works, Mussorgsky chose ten to form a suite for piano, with a recurring theme that suggests the progress from painting to painting. The modest sketches Hartmann (now mostly lost) are fanciful of elaborate ornamentation, no practical use or perhaps ephemeral. To transform them into music, Mussorgsky placed great attention to small details surrounding the main subject of each composition, viewing each image as a living entity. Working with great enthusiasm " I have just time to scribble the ideas on paper " completed the work in just twenty days. Pictures at an Exhibition is the modern paradigm of expression in the piano, its abstract value has freed later composers rhythmic, structural and colorfully, so modern that overcomes many of today's modern, so modern that exceeds own instrument and is therefore not surprising that the piano works is most orchestrations has known.

"Defective full of stupid mistakes, and sometimes unacceptably ugly" and Rimsky-Korsakov considered the work, and this view has influenced pianists of the century, that have interpreted sui generis , even assuming the need for some improvements . If we add a technical difficulty terrible, with daring harmonies, we can see how complicated it can be to follow the score.
Vladimir Horowitz created his own version from various sources such as editing enhanded Rimsky-Korsakov, 1886, Ravel's orchestration of 1922, and, of course, their own ideas, more orchestral piano, adding and editing notes, octaves, bending, pressing the pedal pleasure and varying dynamics, "They Said I put graffiti on Mussorgsky, pero I do not give a damn. When I change anything, it is only to make a Better piano sound. And Mussorgsky Did not know how. But I'm sorry ... That is true. " And relaxes the tempo in Gnomes far from the allegro vivo asking the score. Like Ravel, delete sections in the Old Castle (exaggerated rubato). In Tuileries accelerates the tempo in each group of sixteenths, recreating the careers of the children. In some strains of Bydlo makes a kind of arpeggio (chord instead of simultaneously) that recreates a feeling shaky. Freedom is a natural rhythm in the Ballet of the Chicks, getting a very personal trills. Rapid appoggiatura in the central section of the Jews give an impulsive character. If Limoges octave up and octave jumps under the original writing, in Catacombs directly attacks ignore the score and at the wrong chords, seeking and finding a devastating effect. Desatalantado wildly and rhythm in Baba-Yaga. Perhaps the Great Gate ask a little more solemn, but it is absolutely overwhelming (what tremolo!) In the closing stages, understood as the culmination of the entire suite, as if the whole orchestra was played by the piano. In this live recording (RCA, 1951) and blotted discreet sound in the mass grave, a youthful spectators could not repress a cry of wild excitement at the end of Gnome, and no wonder ...






With Sviatoslav Richter temptation to Horowitzian virtuosity is scrupulously avoided; its interpretation is placed at the service of music, launching a challenge to the alleged lack of Mussorgsky's piano technique. This personal belief in the work made a decisive contribution to their rehabilitation in the piano repertoire. The winter of 1958 must be terribly cold in Sofia as recorded live recording (Philips), or much of the audience was on the verge of death or perhaps celebrating the festival of bronchitis. However, the interpretive level is so high that it reaches excuse all the problems: cough obbligato, sound flat, distant, limited dynamic range, background hiss and some distortion, plenty of scratches and false notes included. The study takes the same year (Melodia, 1958) holds similar volcanic spontaneity sound significantly better. Hercules percussing tempo taken from the beginning (we eat the last half beat of the first ride) reaches enormous magnetic stress, displaying a dazzling transparency at all dynamic levels achieved his titanic strength. The dramatic intensity is overwhelming from the very creepy, slow, dark Old Castle, heavy, torn in Bydlo, the sinister catacombs, overwhelming, and exulting in Baba-Yaga, the astonishing and irresistible power in the climax of the final plating. These two interpretations have always had an almost religious predicament of the critic, but the modern recording technique has to impose (at least in a complementary way) for insight into this demanding work.











seems incredible that only three years later (1961) Byron Janis recorded for Mercury with such great sound, not just in terms of the time: big presence, definition and natural detail, a nightmare for the engineers of the future. Alternating velvety touch Gnomes (losing the meaning dark) with cruel attacks on Bydlo (too metronomic). The tempi light and little dynamic range to better fit the Tuileries and the extraordinary sparkling Catacombs to address the sharp dissonances of Baba-Yaga.



Compared with the Ukrainian, Vladimir Ashkenazy ( Decca, 1982) seems to inhabit a two-dimensional universe: it starts playing almost the entire ride provided without changing dynamics, the fast tempo of the Old Castle transforms it into a roundabout, and also the Tuileries sound very rushed, with no understanding of child psychology. Only the memories remain in the troubled Gnomes. Recording of great presence, cold and steely.





Alfred Brendel (Philips, 1985) he lost in this record the search lyrics textures, light and very carefully controlled, so as not to confuse power with violence, is in a dynamic flatness, mono tone, a grisaille. Yes, finally heard the slurs in Gnome, but so transparent it would seem cold, no emotion. Children in the Tuileries Gardens appear strangely obese. Bydlo situation improves, which itself achieved successful dynamic contrasts (eye, light) into Ballet with its immaculate trills, and the use of pedal burial in catacombs. Do not look here or bombast bombast, even in the final climax. The spacious recording does not eliminate the clinical environment, aseptic autopsy.



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literally fantastic version of Mikhail Pletnev (Virgin, 1991) thoroughly squeezing the sonic possibilities of the instrument: In the slow Gnomes and mysterious use of the pedal creates a gloomy background, in the Old Castle mesmeric mesmerize us, making us dream with several pianos, children genuinely linked in the Tuileries. Bydlo powerful and intense, with occasional and successful use of the pedal, never allowing the wheels to dig into the mud. Phenomenal games with the tempo at the Ballet (magical fairy tale silvery timbre that extracts from the piano in the middle). Dramatic conversation between Jews, nether the Catacombs, and impeccable dreamlike use of dynamic gradations Baba-Yaga. With majestic chords that open the Great Gate is strumming which cascades distant bells. Great sound, atmospheric (the ff shake the piano), warm and natural in the range of colors.


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Anatol Ugorski dynamics surprisingly calm and elegant, air and light, with tempi relaxed and a particular and ongoing management of rubato. Very well draw slurs of gnomes and transmits expressive depth in the Old Castle. In Tuileries enters certain passages out of tempo in the left hand, by creating chaos flutter and children. I think Bydlo less fortunate where martial rhythm resembles more a rude cakewalk the wobbly step oxcart. The striking effect with the pedal in the Catacombs is too festive. Without the courage needed in Baba-Yaga and circumspect before the Great Gate of Kiev. View as mannerist, or collected by the DG engineers (1992).





not leave indifferent
anyone Ivo Pogorelich (DG, 1997) undertakes a sophisticated intellectual redefinition ("heretical?) of interpretive values \u200b\u200bof the work that leads to a personal approach, and nontransferable, with abrupt dynamic contrasts and long pauses, a very soft handling of the left hand, a wealth of sonic palette, an astonishing ability to draw a variety of sound environments and expressive , what a prodigy of articulation and beauty of sound! Tempi wonderfully weightless and painful in the Old Castle and Catacombs, followed by a mortuis in lingua mortuary With unsurpassed, with the tremolo makes the right hand which hypnotic swing. Perfect the way in rushing the words " perdendosi" in Bydlo, which has never sounded so overwhelmingly Russian. Deliciously singing the Ballet of the Chickens, is running an amazing sequence of pedal. Subtle rhythm and contagious Jews in Limoges. Boasts an incredible technique in the fast-paced and ferocious Baba-Yaga and the majestic Great Gate. It takes incredible sound clarity, presence and dynamics. In-dis-pen-sa-ble.



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academic, clear and accurate, we describe the version of Evgeny Kissin (RCA, 2001). Excelente la ostinata decadencia del Viejo Castillo, cuyo rubato genera una inesperada tensión, sonando muy ibérico (Albéniz); si las escalas ascendentes que simbolizan las carreras de los niños están ejemplarmente resueltas en Tullerias, en Bydlo sigue al pie de la letra la indicación “ con tutta forza ”, un verdadero y masivo peso pesado. El Ballet de los Pollos se lleva a velocidad de vértigo pero con gran suavidad, iluminando la línea del bajo. El comienzo de los Judíos rebosa de un inmenso rubato. Se lanza a través del mercado de Limoges a tumba abierta, siguiendo todas las apabullantes indicaciones de dinámica y articulación escritas por Mussorgsky. Tras el trepidante Baba-Yaga start, the Great Gate is dignified and polite, but dark and without brilliance.





Other versions have been compared to Fircusny (Orfeo, 1957) that offers a sense of haste, curious Gnomes retention, without the necessary pause Jews. Clang, sick Nikita Magaloff (Carrere, 1978) Gray, despite the brilliant performance. Sound just enough, resonating metal arch over the piano, Misha Dichter (Philips, 1982) distinguished and lightweight exaggerated slowness Valery Afanassiev (Denon, 1991), reveling in the rich timbre of sustained notes, it offends the sense of melody. Record cold, Andrei Vieru (Harmonia Mundi, 1996) is monotonous and smug, not to exploit the barbarism that is in the score; Pyotr Dmitriev (Mystery, 2003) is terrible, overwhelming, threatening the massive press: If you really and sound pp intense, in ff it seems that you have your head in the sound board and listen as sympathetically vibrate the other strings, if you have a piano to hand a try (you'll see, ya). Out of competition shows the uneven adaptation of Jean Guillou (Dorian, 1989) the court imposing the Zurich Tonhalle. The curious use of the records opened a new avenue of knowledge. If the Catacombs appear impressive, Baba-Yaga shakes the soul. However, the difficulty of playing the organ is a special circumstance of this recording and it requires both a formidable team, and above all, a listening room size to try to recover uppercase abyssal grave.