Sunday, July 19, 2009

Numery Seryjne Do Nero 3.1

Brazil bomb proof suit




There is an old joke, with whiff of skepticism, which runs regularly in certain Brazilian media elite, is ensuring that "Brazil is the country's future ... and always will be." But the truth is that the objective facts increasingly tend to belie this assertion.

With 198 million inhabitants and is the tenth largest economy, over countries such as Spain, Italy and Canada. Its per capita GDP is still low: $ 10,100, according to 2008 statistics, less than the 14,900 of Chile, 14,200 in Argentina and 12,200 in Uruguay, but has been growing at a rapid pace. And it is not unlikely that soon narrow the gap with those who excel in this field for now.

Indeed, it has been, along with China, one of the emerging powers that have best weathered the recent economic crisis born of the speculative fever on Wall Street. And Finance Minister Guido Mantega, said he expects that by 2010 Brazil will grow at least at a rate of 2.5 percent annually, while the U.S. and the EU are still skating, downhill on the ferries, by the effects of huge budget deficits that generate, among other things, high unemployment and general economic instability.

A symbolic figure (and, sometimes, not so symbolically) important is that the year 2009 for the first time since 1880-to put a milestone that references the start of the expansion of modern capitalism planetary-scale, core countries of the OECD (Organization for Economic Cooperation and Development)-ie, the exclusive club composed of the world's richest countries, account for less than 50 percent of Gross World Product .

Throughout the 80's and 90-as recalled by the analyst Brazilian Luiz Antonio Costa said, "this set of nations, which may include the United States, Canada, Japan, Australia, New Zealand and Western Europe ( block to the early 90's he joined the former GDR), representing about 60% of the global economy. In 2008 its share fell to 51% and an estimated This year should be around, hopefully, 49%, with a tendency to follow a downward path.

Since its founding in 1960, the OECD included Turkey and from 1994 to date joined the ranks of countries like Mexico, South Korea, Czech Republic, Poland, Hungary and Slovenia. If you consider all of them within the " dream team" of the countries most favored by fortune, the OECD would be representing 56% of the global economy in 2009, but it is estimated that inevitably fall to 51% in 2014.

Who are those who have come to dispute dominance in global markets? For starters, the BRIC -That is, Brazil, China and India, to which are added to Indonesia and South Africa are also in sharp ascent. Problems, of course. In the case of Indonesia, the threat of religious fundamentalism as a sword hanging over his head the most populous Islamic country in the world (240 million). And in South Africa, the social apartheid that remains despite the end of the extreme racial segregation, which is expressed in alarming rates of HIV prevalence (over 18% of the adult population is HIV positive) and crime.

The truth is that as countries like Chile, with good reason, of course, given our size and our role as articulators rather than as a power with a weight and a specific volume on the world stage, they boast to seek an early accession to the OECD, others, such as until yesterday peripheral Brazil, China, India, Indonesia and South Africa, the luxury of ignoring the hints that they are to occupy a VIP membership into the Mighty Football Club. Looking

overseas partners

In short, the South also exists, but has no trouble, apparently, in submitting to the structures of what might be called the "industrialized West." In fact, the trouble now I have them, as explained by a representative of that organization to a journalist with the Economic Value: "We saw that the OECD will continue to be relevant without the participation of these countries", which has been called E-5 (an acronym that refers to the enhanced engagement better-than-commitment is evident in their economies).

Now, for example, Brazil lends money to the International Monetary Fund, and President Lula is allowed to joke asking: "Is not it chic?", Without ignoring the irony that a few years ago, his party, the PT , proclaimed to the four winds "Out with the IMF."

same thing happens to the OECD it happens to old-looking and decrepit G-7. Until 1996, the forum represented the largest share of world GDP. A year later, the sum of the seven major for the first time fell below 50% of that index, and coincidentally joined Russia (about 3% of world GDP) to maintain a slightly higher rate of 50% five years.

In 2005, the Company's shareholders realized world that 48% of GDP was not to exercise hegemony to which they were accustomed, and that is where Labour's Tony Blair begins to propose extended to new members. In particular, Brazil, China, India, South Africa and Mexico. Why? For the Alliance pop known as G-20, began to dispute with leadership from the WTO meeting in Cancun in 2003.

And then from 2007 onwards, the numbers are rising. Comes the G-8 plus five, and a year later with the arrival of Egypt, creating the G-14. Despite initial resistance from the Republicans (anti-Russian, for historical reflection) and the Japanese, the game is opened to new entrants. Former Non-Aligned come banging on the table, knowing they have depth and projection of countries, continents, in most cases.

Everyone knows that China can only overcome as the U.S. economy by 2020, according to many projections well-founded. To say nothing of the BRICs as a whole (or Bricis, if they added Indonesia and South Africa).

Bricis Of course not, not a homogeneous bloc. And they have more of a contradiction, which is expressed, to cite one case in the current dispute between China and Brazil for control of areas of the Argentine import market. The failure of recent negotiations of the Doha round was also Brazil, China and India rather dissimilar positions. But that's what you might call, in terms of the old Hegelian dialectic "unity and struggle of opposites." Locomotive

recovery

Meanwhile, Brazil is strengthened. His voice is heard strongly in all forums and debates on issues ranging from global warming to nuclear disarmament and new rules that should redefine the global financial market.

Leonardo Martínez Díaz, Brookings Institute, goes further and states in Folha de Sao Paulo that Brazil should be "one of the engines of the global recovery," based, among other things, in a domestic market that has expanded shielded from the consequences of the crisis (an estimated 25 million Brazilians have moved in recent years of social stratum E to C and D, ie, have joined the consumer).

Such is the force that is taking this new global positioning Brazil have already started to emerge some concerns among neighbors, such as those noted Martínez Díaz believes in countries like Ecuador and Bolivia, who feel threatened by the shadow the giant that stretches from their sleep of centuries.

Argentina, meanwhile, was the other country that at one time seemed to be able to dispute the subregional hegemony, has retreated on all fronts with its northern neighbor. And only managed to put trade barriers that undermine the original spirit of the customs union, proclaimed by the Mercosur, but to protect what little remains de la industria argentina (y con ella, a los Marco Polo a la inversa que vinieron desde China a vender zapatos y comprar soja).

Lejanos están los tiempos en que en Buenos Aires se medía con una regla casi milimétrica la altura que deberían tener proyectos hidroeléctricos emblemáticos como el de Itaipú, por temor a que si la cota era muy alta, se corría el riesgo de ser inundados algún día por decisión del Planalto.

Hoy lo que reina es el pragmatismo más absoluto, pues se ha llegado a aceptar, casi con resignación, que no hay ningún país en el Cono Sur que le pueda disputar la hegemonía a Brasil por territorio, demografía y potencialidad económica. Factors

against the conspiracy could only lags exaggerated social inequality (the one that gave rise to the myth of Belindia, the country itself combines Belgium and India's most backward) and the comparative disadvantages deriving from it, in terms of "favelization", delayed education and crime unleashed. That is, after all, the most extreme form of redistribution of wealth in a country that produces no more civilized forms of distribution.

Friday, July 17, 2009

Best Cd Burner For Macbook Pro



VOICE DUE TO IT

A. - THE POETRY OF SALINAS:

Poetry is for him a way to deeper understanding of reality, a form of access to the essence of reality.

Between 1923 and 1931 published his first books Salinas: Omens, Random Security. Fable and sign. It recorded in pure poetry, under the predominant influence of J. Ramón Jiménez. They appear sometimes is where topics unrelated to the future: electricity, machine, radiator. But in these poems is able to find a deeper meaning, hidden in objects. After these beginnings are their two masterpieces: The voice you due (1933) and love Reason (1936). Both give Salinas the size of the great poet of love. Indeed, few matched the subtlety with which he was to deepen the feeling of love. Again, beyond the pure quintessence anecdotes to find more joyful relationships. "Obviously anti-romantic, el amor es -en vez de sufrimiento- una prodigiosa fuerza

que da plenitud a la vida y sentido al mundo. Es enriquecimiento del propio ser y enriquecimiento de la persona amada. Es un acontecimiento jubiloso:

"¡Qué alegría, vivir-sintiéndose vivido...!" El amor hace amar la vida, decir que sí al mundo.



B.- CARACTERÍSTICAS:

1.- Poesía amorosa constant presence of the pronouns "you ( referred to his beloved) and" I ( the poet himself).

2 .- The poems cause a sense of dialogue ( or monologue) intimate, which reminds Becquer.

3 .- Garcilaso's literary influences: the title phrase "The voice you due" comes from Eclogue III also is higher than the beloved poet: he is " shadow ", it causes" light "and life ( its abandonment in the later poems the poet leaves in shades) and Petrarch: the love of it is a source of joy and pain ( especially in the later poems) . Moreover, the search for the beloved and the identification of the infinitely perfect height reminds San Juan de la Cruz.

4 .- Most critics divide the poems into three groups, but these are linear and give hops:

a. - Omen of love with a feeling of joy and jubilation of the author .

b. - the poet's anguish at not being able to consummate that love before the love of her coldness.

c. - pain at the neglect and loneliness turn unwanted.

seems the happiest moments are at the top and darker at the end.

5 .- The beloved appears as being split in two: the real, who does not know the poet is constantly looking though ( 3, 41, 58, 59, 12, 14 ...) and imagined by the poet, who never materializes ( n º 41, 50, 53 ...). Often, he is passive and she who chooses ( No 62) and the one that does not happen at all ( No. 49); of its decisions depends the happiness of the poet ( No. 4) and can never be doubted ( No. 1) .

6 .- The topics that appear are: the time referred to from the poem 2 (" Today or tomorrow, or in / of a thousand years (... )") and is constant throughout the book (No. 66: " still air / water still ", n º 13 ...); the " you" and "I " and concern for the names of things ( 9: " Why did you name yourself, / day, Wednesday? ", No 7, 13 ...).

7 .- The objectives of the book are:

a. - The discovery of the true personality of the beloved. ( n º 52)

b. - 's desire to consummate the love he feels.

c. - The lovers salvation through love.

8 .- It is a kind of poetry concepts, with the presence of metaphors for the beloved and love (the " mirrors " (no. 4), the " shadow " (# 1, 5 ...)), of paradoxes ( " And let me live another being behind undeath" (No. 21, p. 152), exclamations of joy (No, 4: "If you call me, yes / if you call me! "), along with personifications: " (...) I do not bite the pain " (no. 5), " You know the winds / their names (...) " (No. 9) ..., and rhetorical questions: n º 13, 9 ...

9 .- The metric that dominates Voice ... are heptasílabos rhyming assonance.



C-READING GUIDE THE VOICE DUE TO IT :

1:

1 .- To whom is the poet in the 1 and how is this "you" referred?

2 .- Notes the metaphor of the last stanza and indicates its significance.

2:

3 .- The presence of love is evident in the number 2, enter the event.

3:

4 .- Shows the fundamental action of the poet in the first three stanzas of the poem 3, and then points out the key action the last stanza.

No. 4:

5 .- The joy / joy is typical of the first poems in which there is a possibility of love. Indicates how it manifests this joy at No. 4.

- In the same poem is a time reference. Write your appointment.

- Finally, explains the verses of the last stanza: "Never from lips to kiss you / ever / from the voice that says:" Do not go "

5:

6 .- Notes, at No. 5, the date on which the poet tells us that love lived was real and he remember.

- Time is one of the fundamental issues of Salinas. Words of the poem stresses that manifest.

- On the other hand, it appears the issue of "you" and concern by the name of things. Indicates the appointments. Looking for the poem " Intelligence" by Juan Ramón Jiménez, a teacher of the Generation of 27, indicating its influence in Salinas.

7 .- In the same poem, points out paradoxes and metaphors relating to love and explains its meaning.

No. 6:

8 .- Who identifies the beloved?

9 .- How expresses doubts Salinas? What are these?

No. 7:

10 .- What time reference occurs and what effect it has on the poet? Notes the appointment.

11 .- Write the final metaphor of the poem refers to " morning."

8:

12 .- Indicates the event you see who it is who decides at the beginning of the poem, and the event in which submission indicates that he expects it once known.

No. 9:

13 .- What is the most repeated word in the poem? What is the issue? What connects literary movement?

14 .- Explain the metaphor of the last stanza: Name: what dagger / chest amid a candid / that would be our long / it not for his name. "

No. 10:

15 .- Lists elements that the poet was considered lost.

16 .- Indicates the metaphors referring to the beloved of verses 4 and 5.

No. 11:

17 .- What is the beloved? Relate your response to the poetry of Salinas.

18 .- Notes the most significant metaphors.

No. 12:

19 .- Explain the metaphor: "(...) you, Amazon in the spark" (p. 132)

20 .- How do you know the poet to his beloved? Who should be " darkness" and who " light? (P. 131)

21 .- Justify why this poem can be considered belonging to the first group ( poetry of joy).

No. 13:

22 .- Enter the date on which the author brings his three themes: time, "you " and "I " and the name of things.

23 .- The poem has a certain futuristic. Indicates why

24 .- Notes literary figures and explains the meaning of these verses:

- "verbs, undecided, / eyes watching you / like faithful dogs, / trembling " ( p. 134)

- "(...) prepared and the body / for pain and kiss, / with the blood in place, / I, hoping ( ...) " (p. 135)

No. 14:

25 .- How would you like to be the life the poet? How do you want the beloved?

26 .- How do you intend to appear before the beloved? What kind of poetry and poet connects?

No. 15:

27 .- Points to the internal structure of the poem ( parties for their content.)

28 .- What is the noun that performs all the actions? It also indicates the verbs.

No. 16:

29 .- The metrics of the poem, is typical of Salinas?

30 .- What causes happiness of the poet? What is the "one ?

No. 17, 18 and 19:

31 .- Looking for a paradox at No. 17.

32 .- In these three poems appear conceptual games referring to time ( enemy of lovers). Indicates some of them.

No. 20 and 21:

33 .- What should the poet want?

34 .- What effect does the beloved?

No. 22 and 23:

35 .- What is the only point at which the beloved does not change?

36 .- What do you most want to Salinas? Why can not possible?

No. 24:

37 .- The poem is divided into two parts:

- The first is full of imperatives. Prepare them.

- The second is indicative present. What should be the verbal change?

No. 25:

38 .- Indicates what he wants and he does not want the poet.

No. 27:

39 .- What has changed in his conception of love in this poem? What is the difference between sleep and wakefulness of the poet?

# 28:

41 .- Notes personifying metaphor in which time appears as an enemy of the beloved.

No. 29:

41 .- Indicates a paradox.

42 .- What can it mean: "I left over / eyes and lips / in this world of yours " (p. 167).

30:

43 .- Here the poet trying to express his love to the adding of feelings. Why do you want the poet to his beloved "horizontal ? Why do you say "Surrender / a great final truth" ?

No. 31:

44 .- In this poem, indicates where the imperatives prevail, where the future and where the present indicative. Search also the verb clauses and explains their meanings.

No. 32, 33 and 34:

45 .- In at # 32 and # 34, the poet is passive activity against it . Notes appointments.

46 .- At No. 33, the author, distraught over his doubts, what she accuses her lover?

- Find a sonnet by Garcilaso de la Vega (S. XVI). What are common features and Garcilaso Salinas?

No. 35, 36, 37, 38 and 39:

47 .- Looking at No. 35 and No. 38 paradoxes and metaphors.

48 .- At No. 36, how many parts is the poem? How much prefer the poet? How do you know?

49 .- At No. 37 and 39, said appointments to express the despair felt by the poet not to feel totally loved. Indicates also, at No. 39, parallelistic structure.

No. 40:

50 .- Look for the event in which the poet expresses his doubts.

51 .- Points to the event in which the poet tries to find the ideal woman that he seeks in his beloved.

# 41:

52 .- This is a poem fundamental. In other poems we have seen the presence of high as sublime perfection, the influence of San Juan de la Cruz ( S Mystic XVI). Notes the appointment.

53 .- Search also the appointment where we see the poet, like JR Jiménez, aims to create a new perfect lover.

No. 42, 43 and 44:

54 .- What is the theme of the poems 42 and 43?

55 .- Indica, at No. 44, the parallelism. What meaning can have profound "mirrors, water" ?

No. 45 and 46:

56 .- The coldness, lack of delivery of the beloved seems to be the subject of these poems. Write quotes to confirm it.

No. 47 and 48:

57 .- Stresses the metaphors and explains their meanings.

No. 49 and 50:

58 .- Match the following verses to the poetry of Salinas, for it please read man of his poetry features:

- "You can not love me: / you're high, what up! " (p. 203, No. 49) and " You are looking at the other. / It looks like you: / steps, the same frown, / the same high heels / all stained stars (p. 205, No 50)

- "I live / shadows, the shadows / (...)" (p. 203, No. 49).

# 51:

59 .- indicates common features between the poem and what we know from the poetry of Garcilaso and San Juan de la Cruz.

No. 52 and 53:

60 .- poem imperatives Notes No 52.

61 .- Indicates appointments of the two poems in which the poet says one of the objectives of the book: the discovery of the true personality of your beloved.

N ° 54:

62 .- Through which the poet uses metaphor to indicate the intellectual coldness of it?

# 55:

63 .- The poems, you see, are increasingly negative and dark elements the poet used more frequently. Write quotes to prove it.

64 .- It also highlights a paradox at the end of the poem.

# 56:

65 .- To continue to love, the poet needs to "kill" to replace it by a loved and idealized. Indicates appointments.

No. 58 and 59:

66 .- At No. 58, where Salinas seeks the beloved? Where, finally found it?

67 .- The number 59 is the continuation of the previous poem. The "I " is here passive. Notes verbs whose subject is the poet. What actions did the beloved?

No. 60:

68 .- It's a painful poem because this reflects on the distance between "I " and "you . " What is unable to make your loved? What have you learned the poet?

# 61:

69 .- The tone of this poem is petrarchean because love causes him pain while. Find citations.

N ° 62:

70 .- The poet began the book in the " shadow "(p. 107)," you "gives life, and now, after the failure and frustration, the shadow becomes anonymous. Stresses significant events of the poem in which you see this evolution.

71 .- appear, also referred to the time symbol and theme of the names of things. Indicates where.

# 63:

72 .- Where does the union petrarchean of love and pain?

No. 64, 65 and 66:

73 .- Explain what it means and what literary figure is:

- "Rock rests on rock / bodies lie in cribs, / in tombs (...)" (No. 64)

- "(...) false paradises, / floating on water." ( n º 64)

74 .- Look at the three poems allusions to the passage of time.

75 .- What are the tone poems? Why?

No. 67, 68, 69 and 70:

76 .- Notes on the poems allusions to the "shadow " and "light . " What do you want the shadows mean now?

77 .- Look, at No. 67, which means "still air, still water" (p. 238)

78 .- Why is poem number 68 as exclamation ? What does the evolution "(...) of bodies to the shadows "? (p. 240)

79 .- What is "the immense distances bed" from # 70 (p. 244). What "(...) the death of shadows, which is nothing" ? ( p. 245)

Thursday, July 2, 2009

How Much Do Hutch Bikes Sell For?

Bach: Concerto No. 1 for Harpsichord BWV 1052

Bach made in 1729 the direction of the Collegium Musicum, an association of students and professional musicians founded by Telemann in 1704, which gave weekly concerts throughout the year in a coffee-house in Leipzig. For these concerts was created in concert in D minor (a stimulus for composition may have been the new instrument introduced in 1733 "a new key, as nobody here has ever heard "according to the announcement of the Collegium Musicum), adapted from an original (now lost) for violin and Cöthen period for which their material reused Bach cantatas BWV 146 and BWV 188. In its final form, has exerted a powerful influence on the development of the piano concerto, especially Johann Christian, that influenced Mozart, and this in turn Beethoven, etc.


Often BWV 1052 is numbered among the orchestral works of Bach, however, considering that the score needed "key concertato, two violins, viola and under " would be more appropriate described as chamber music. The vigor and strength of its opening ritornello mark one of the most familiar passages in all production Bach: The first measure seeks most orchestral material, and generates a high-powered movement and contrast based gloss tutti-solo interludes , they of the highest technical level (since the left hand does not remain confined to a mere paper to emphasize the bass line) and thrown into the harmonic and contrapuntal exploration. The Adagio begins with a broad melody of 13 bars (which differentiated in different hues throughout the movement),

where couples of repeated quavers mark as a basso ostinato a solemn hypnotic pattern, a framework for a rich and ornate recitative in the melodic. The energy and intensity back in the powerful final allegro, based on a recurring riff freely constructed (almost improvised) and imbued with a danceable nature. The last return of the ritornello is preceded by a short but elaborate cadenza, as in the first movement.



From a public concert reached this recording in 1947 (EMI) by Eduard von fear Benium and restricted only to aficionados of historical bouquet: Unable to find here the warm timbre characteristic of the Concertgebouw Orchestra, As the noise of the disk array is clearly audible and the balance is up to the piano as the orchestra sometimes fades. In return we get a very personal recreation, precise and dynamic attacks marked: hear this as the soloist Dino Lipatti pianissimi invented crystal.








Sviatoslav Richter in 1954 had not been authorized to pass the Iron Curtain, so that this record was recorded on a visit to Prague, where the eccentric pianist practiced all night in the Opera House. While the dynamic orchestra is flat and low recording quality (dark and tarnished) to current levels, such is the technical exuberance and the tight control of pace (not swayed by the urgency of the music seems to convey) that the feeling is magical. Great central movement very slow tempo, with the piano in the foreground, an exquisite sense of poetry and full of depth. Vaclav Talich accompanying the front of the O. Czech Ph. (Supraphon) is skillful and clever, but the rope is not a model of accuracy and to follow all the dynamic indications in the score.








Ralph Kirkpatrick (Archiv, 1958) was a pioneer in the evolution of Baroque performance in the last half century: "Creative use of records, varied dynamics, plays a modern Neupert a expressive power and range sound absent from what is now considered historically appropriate. Strict rhythms, except in the final passage of the turbulent allegro, where the difficulty of the long and florid cadenza requires you to collect candles. The orchestra, opulent sound, is the (now happily recovered by Abbado) led by Lucerne Festival Strings Rudolf Baumgartner. Original vision, different, delicate yet robust and enduring over time.









Already in 1969 the Gramophone critic diagnosed suffering from elephantiasis for recording Hans Pischner (Naxos, 1963) and the balance to heel by the imbalance between the sound of the harpsichord, the orchestra, the Berlin State led by Kurt Sanderling (vigorous wonderful sound of the modern cello.) In the slow adagio, the wide opening and closing melody omitted key part of creating a powerful dramatic effect. Honest but unimaginative and spark in the end where the tempo allegro rested facilitates fingering. Please note.








The lightweight and balanced Bach Concertus Musicus Wien led by Nikolaus Harnoncourt (Teldec, 1968), revealing when it appeared the innovative presence of baroque instruments, now sounds decidedly conventional weak accents, flat on the dynamics, and disappointed at times starving timbre of the strings (although the two violins by hand) . The vitality and capacity for nuance is balanced by the austere concept sober (just a keypad) key Tachezi Herbert, whose precarious sound seems to doubt in the outer movements. You can practically apply the same speech to the prior interpretation of Gustav Leonhardt at the head of the Collegium Aureum (DHM, 1965), BWV 1052 which was outside the integral Teldec by contractual problems. Clean, clear sound, but with a limited overview. The classic.








The forceful and solid sound of the Munich Bach Orchestra (Archiv, 1973), was paradigm of precision and virtuosity. If the initial allegro no sense of haste (including variable tempo and Karl Richter is just faster than it began), the pace is flexible rearward causing a blur of sound. In the somber adagio in G minor (soft accent, legato from top to bottom) added ornamentation, curious and impossible records crescendos into an instrument of time (remember that the key strings are not hit by a hammer like a piano, but a nail stretch and release the string, making it resonate), yet clearly enough for a key part of that care, do not touch the bass notes (left hand) throughout this movement, even saves energy in the tutti, where he served one second harpsichordist (!). Despite its rhythmic vigor, his sense of dramatic continuity, orchestral color to its appeal, perhaps it is seen as monolithic and hard today. A dream the dreamer and making sound lacks definition.









Gustav Leonhardt repeated in 1981 to Seon and at the controls of the Leonhardt Consort. Right from the beginning is aware of the fluidity with which the music flows, the stunning clarity thanks to a stunning articulation, tempo, balance, phrasing always provided with a smooth, exquisite rubato style (although a hit point and unclear), but also a remarkable vocalist capacity. I miss the most daring dynamic range, and above all the lack of drama, for example in the scarce presence of cello gives the threat contained in the score. Curious way of scoring only the first note in the pairs of eighth in the adagio. The only acceptable sound balance. Perhaps too severe in his inflexible pace, but having a perfectly natural, ineffable Leonhardt represents authority.








's prodigious sound takes gaming to appreciate the calls and echoes between rich strings (about fifteen musicians) from The Inglés Concert (Archiv, 1981) and the different textures of the key keyboards. Andrew Pinnock conveys passion, spontaneity, resourcefulness, polished technique, musicality without fainting, fierce, dramatic reading unparalleled, vital and nimble in short phrases. Excellent recording (sound sour, sometimes ice cream), an exemplary balance.







The frenetic pace and incisive Tom Koopman further emphasizes the tutti breaks the Amsterdam Baroque Orchestra (Erato, 1990), powerful drama and abundance of the lower strings. Radical ! snapped critics. Clutter is welcome when accompanied by the fantasy and brilliance.









Berlin Classics released in 1990 this loose version by the Collegium Musicum Neues led Bachisches Burkhard Glaetzner. The harpsichordist Christine defends Schornsheim While the difficulties and discreetly added ornamentation, trills and small rallentandi. The problem comes in the recording lucky little differentiation and low timbre, in addition to the adage that reveals the ugly (nasal) sound of the lower keyboard key that removes all the mystique of the ground.







Bob van Asperen (Virgin, 1991) represents the combination and severity (excessively?) . Hers is a reading incisive, well-articulated and endowed with a natural rubato and very attractive. Accompanying special mechanism clarity, agility and elegance of expression on a powerful key (copy of a Taskin of 1764). Although Melanie Amsterdam strings are set at times, all as perfect as one would wish in terms of pitch, the overall result is outstanding. The sublime clarity and lightness lucid polyphonic allowing the use of a voice by turns some stiffness in slow motion. Aggressive, acidic attack, remembering the legendary recordings of Goebel (what a shame this concert ever recorded.) Exemplary fashion balanced sound making a clear separation of the strings with bells.










The concept muscular and determined by Pierre Hantai and Le Concert Français (Astrée-Audivis, 1993) drawn with absolute clarity of textures, harmonic and contrapuntal complexities: the voices (a part) note scrupulous attention to the vertical. The strict control and harsh, bouncy and rhythmic, sometimes not exclude a slight rubato, consistent with the strong interaction between tutti and solo, this discreet. It has the rigor of Leonhardt, Koopman's fantasy, the accuracy of von Asperen and above them a vocal quality, a cantabile: your password (your touch) is fused with the instruments.










Despite numerous orchestral accompaniment by The Academy of Ancient Music (directed in 1995 by Christopher Hogwood, L'Oiseau Lyre), the concept is lyrical and elegant: Lightness of accents, extraordinary liveliness, clearly defined lines and sense of proportion in the relationship between the solo virtuoso (Christophe Rousset, to highlight the rubato in the coda of the first movement) and ripieno warm and precise, very well in the outer movements, illuminating details and clearly articulated and effectively. Perhaps attention to the rhythmic component in the fast movements, causes a relative neglect of the horizontal. Electric, powerful, wonderful version in a less transparent no recording which includes the superb timbre of the harpsichord, rich and close (and yes, this resurgence of record changes longed primitive versions and outdated).









The Italian Concerto recorded this concert in 1997 for Opus 111. Bach This is a transparent, bright, lively, lavish, it seems that Vivaldi, close (in spirit: tempi, rubato) to the aged Leppard records for Philips. A refinement that allows exposing unexplored nuances (such as abnormal accentuation of the ground, which enhances the aroma Lutheran). Theatrical sense, Mediterranean, sharp dynamic mid-sentence, may be exaggerated in the cadences of Rinaldo Alessandrini. Virtuosity, elegance, clarity, grace, strength, without exaggeration, apotheosis of the Baroque concert, more or less rough. The excellent sound can hear the faint ring of the key (and also the mechanism).









Gregor Hollman school belongs to Leonhardt, but with swift tempi, changing light and threatening with a sense of urgency, an excitement. The key is integrated into the chamber ensemble Musica Alta Ripa (MDG, 1998), which live concert, with a higher voltage harmonic melody. Of precise articulation, expression is anything but austere. Making spectacular sound, clear and sharp despite the reverb.









Correct but without emotion, exact, cold sounds of Bach Robert Hill (Naxos, 1998). The broad tempi allow unparalleled clarity. Dark force that nearly matches the drama of the Pinnock, The recording is detailed both the fullness of the orchestra (the Cologne Chamber of modern strings, under the direction of Helmut Müller) and the ethereal timbre of the harpsichord.










By moving the show from the violin, the harpsichord Bach never proceeded mechanically but strove to settlement own identity by submitting the model to the further development and depleting potential. This often meant adding new pieces of counterpoint, alteration of detail (due to the different tonal qualities) and structural modifications. In fact, restructuring and changes are significant enough (in particular the deployment of the left hand and the invention of the figurative language of the key) so that the work can be considered a composition in its own right. Therefore, the creative interpretation of Fabio Biondi and Europa Galante (Virgin, 1999) provides details of the surprises in cadenzas, and a novel continuous-key, positive organ and lute. The violin, dramatic and even the ornate rococo in its articulation, gives a sweet richness of timbre in their generous vibrato. Taking advantage of the dynamic possibilities of the instrument is better in the fast movements, with his outbursts tempo game, as in the adage seems too syrupy and without contrast timbre. Sound decision focuses on the soloist, being distant, vague and unclear in the definition of the remaining lines.











Café Zimmermann takes its name from where the concert was released the public around 1735. Directed by Paul Valetti (Alpha, 2001) This chamber group (a party) endorsed the concept of primus inter pares : Tempi light, soft dynamic games, away from any bombast, technically polished, cool stream which contrasts with the key wrapped Celine Frisch, which abounds in the use of ornaments carefully chosen, especially in the adagio enigmatic harmonic changes. Superb recording clear, spacious, very interesting contribution.










line in the same chamber orchestra Pinnock proposed scheme but with a slightly smaller (4-4-2-2-1) Concerto Copenhagen (CPO, 2002) directed by Lars Ulrik Mortensen audience a more severe Germanic does not disappoint, but not exciting. Elegant, the key is integrated into the whole: the loss of immediacy and clarity of detail is offset printing live concert.










simple strings renewed Academy of Ancient Music directed by Andrew and Manze (Harmonia Mundi, 2002) allow a flexible approach to game dynamics, elastic tempo as necessary (marked with certain roughness). Richard Egarr articulates a key intimate sound (excessive?) In the background, because it sounds a lot more of continuous theorbo (deep and resonant, compensating for the lack of low-end body of the key) and adds a different color and provides a delicate and elegant feeling. The tempo of the adage is particularly quiet, highlighting the fragility, softness and emotion of the score. Take bright, warm sound.








The ensemble Sonnerie (Gaudeamus, 2006) is strictly chamber music by playing a voice, giving a clear and transparent result. With a playful use of Agogo, with frequent changes of pace (comes to mind-concept drama giocoso), this retooling fits perfectly with the work (the same Monica Huggett thinks was made modeled after a Vivaldi concert.) Well the key continuous, enduring harmony on the violin in the cadenza (which includes an alternative coda interpreter unassailable technique, playing without vibrato to a violin from 1750). The care can lead to stress the details to exaggeration. The main distinction of sound levels, the discreet rubato, the roundness of the bass, its depth, concentration and severity, are preferable to the fun version of Biondi. Excellent sound, warm and reverberant.








also a string quintet accompaniment version has the Gli Incogniti (Zig Zag Territories, 2007 ) to the Italian maniera, with a range of tempi very light ("prestísimo or rushed?), without threatening the perfect rhythm control, if blurred details of phrasing and counterpoint. The violin soloist is featured too Amandine Beyer (the only becomes the accompaniment of the tutti, exchanging papers.) Danceable rhythms, so essential in this repertoire, are barely discernible. Phenomenal continued the delicate harpsichord, but can not (or not pursue) makes us forget the faith and the anointing of Huggett.









The sound of the Byzantine Academy (directed at the harpsichord by Ottavio Dantone, L'Oiseau Lyre, 2008) for a voice part is naked, emaciated, especially the lower strings (rather than low are dwarfs). Aggressive in the allegros, in the slow movement let the music breathe genuine lyricism. If the ornaments by the first violin are a breath of fresh air may be considered unfortunate choice of key ring dry and pale. Disappointment, then, since nothing has to do his temperamental Vivaldi with the coldness displayed in this record.









One last comment on recent versions of Hélène Grimaud and David Fray, not included here because I believe lack of sufficient musical entity. In some years now the record companies flood the patio covers suggestive photographs of talented (?), Young and beautiful stars. Does it correspond to a real shortage of gifted musicians or just a marketing strategy? Compare with the covers that a few decades ago adorned the covers of vinyl. Obviously Reiner, Klemperer and Toscanini do not make me up (both) the libido.









Xenophon
A request to update the entry record including Stephan Mai, Akademie Für Alte Musik Berlin (Deutsche Harmonia Mundi, 2006), initially found no gap to the unique competition, Huggett, Biondi ... Tempo between light and quick, very discreet rubato, sometimes in the first movement the pitch me is odd (perhaps by the use of scordatura?).