Clip Groping In Train

Mollat \u200b\u200bWalking through the bookstore, surely one of the most impressive libraries of France, saw a book that caught my attention immediately. It was the Musée Invisible , prepared by Nathaniel Herzberg. A book announcing something like "the masterpieces that not be seen again." How would not attract the interest of others. The particularity of these masterpieces is that they all have been stolen or destroyed throughout history, and as the only witness of her life are only some pictures of them and a lot about the context of their disappearances. In the end, there is even a brief catalog of the most famous art thieves. One of them, I think the youngest in history, died shortly after the theft of a striking and unusual skin cancer.

Thermometer For Woodstove

with null!


We are irreducible. The Front of finality. Our central slogan is all or nothing. Or will revoluc ion proletarian masses revolted with storming the Winter Palace, or we will settle for nothing less that. We are

than offset by default and to persevere. Because we opposed to the electoral farce. The power, you know (Mao dixit), was born gun, and everyone else are idiots placebos. Tricks to fool the illiterate politicians who are led like lambs to the polls.

We are clarified, which we will not put his finger in the mouth with moral blackmail, which we called to vote "no shit" and then drop the flood on what's left of us. Perhaps because we believe that helping to exacerbate the contradictions, we will be accelerating the inevitable time of awakening of the people. And

will be clear: we are not cutters last hour, voters enraged because the messianic leader who would change everything, he was not given things. Not so. We

nihilists from the first second, and if before pregonábamos "tula Anula with" or "Fight and white vote", now say that Frei and Piñera are the same and there is no lesser evil that good things come, but a system that we're going to break down guided by our own will.

Who cares that the traditions of the left relate, early on, with the election campaign as a suitable space for political agitation and awareness of citizens?

what if from the time of Luis Emilio Recabarren there are those who believe that even with all the trappings that presupposes the "bourgeois democracy" was important to try to enter Parliament to have a voice on the national agenda?

What matters, on the other hand, when Salvador Allende, the bourgeois pije stubborn and acknowledged, on several occasions no candidates for the Presidency, until he finally gave the stick to the cat and went to La Moneda?

What does it matter to our guerrillas, who also had "some words, and other consequential through with his ideas," have been postulated, on occasion, the "vote More gun "and called for support to the most advanced of what was then called" popular field?

What matters, finally, that our discourse is ringworm enough with the demagoguery of the extreme purity and flying the flag of anti-corruption (teaches that "it does not hurt to speak, is often used by those who not believe in democracy as a system) ?

What matters, in addition, if the fascists we are brothers, when we criticize the "political masters", the "systematic corruption" and all garbage and parliamentary representative of the show? All that nonsense
jumped
through the air when the right decided to violate their own rules and set up the wildest and undisguised dictatorship of capital. But as most know by that old devil, then returned to dorarnos the pill with the rule of law and such nonsense. And there were those who fell into the trap.

Traps suitable for hunting and conciliators reformers of all stripes, but not to us, we're the bastion of uncontaminated and railway preservation principles. We are not complicit in the electoral circus and never will be. We did not play with marked cards beforehand. Ours is intransigent mobilization behind maximum targets that will never give up.

Socialist Revolution and take power. And if in the meantime, win Piñera, gives exactly the same ... Or to say that we can get to go a bit better, for the proletarian masses, the heat of battle, they will gradually abandoning Ying, Calle 7 or Platoon (hallucinogens media with which the system captures their minds today) to start a slow process of awareness that will lead to socialism, or something very similar.

As stated in the 60's, when, without doubt, the glory of humanity: "The worse the better ..." before the dictatorship came to show us how much worse could we ever truly be on the scale from white to black and civilization to barbarism.

Anyway. We see the fate among gypsies. With Longueira as interior minister and spiritual leader Jaime Guzmán from beyond the grave of a possible government of Sebastián Piñera, would be given all the circumstances, objective and subjective time, so that the spark of insurrection prairie fire of these fields embroidery flowers, which now appear deceptively placid.

not loosen So, fellas. Let the hard, while age and Viagra allows us to. .. And repeat, to give us encouragement, those old roguish verses of Latin origin unforgettable. Those who argue that "if the strength wanes avanti with his tongue ... "And if" the force and void, avanti your ass ... "As the Parthians, who fought with his back to his enemies. And, therefore, also to reality ...

Breastfeeding Old Man Milk

Vivaldi: Stabat Mater

The vocal work sacredness earliest known of Antonio Vivaldi is the Stabat Mater (RV 621), and custom made for the festival of the church Santa Maria della Pace in Brescia in 1712. The poem written in Latin by Jacopo da Todi in the thirteenth century and describes the lament of Mary at the foot of the Cross, Vivaldi chose only the first ten stanzas of the text, as prescribed when the text is used as a hymn Vespers.

sacred and secular spheres in Vivaldi share a common musical language and merely forms and styles that derived from the instrumental concert and operatic aria, we know that the concert consists of ritornello (orchestral, expository nature, thematically concise and stable in key), and the only (prepared technically and modulatory character). In the aria the sung text replaced instead of just between ritornellos. How Vivaldi used these elements of secular music in a liturgical situation? The text evokes essentially a dramatic scene, a lyrical expressing the emotions of the protagonist, exactly what was invented the operatic aria. Naturally there is no da capo section , and the context of a dramatic recitative is completely absent, however, as we shall see, some of the interpretations are inclined towards this direction stage. Contrary to the model of the concert, the tempi are all slow, emphasizing the painful impression, and vocal writing (for the solo) is discrete and non-virtuosic. The mood remains throughout the play somber and solemn and oppressive getting a remarkable drive, although restricted in expression and simple textures. This gives all the work is more contemplative than dramatic expression, and shows the intense pain with an elegance and restraint appropriate to the Mother of God.

The musical form of the work reflects the strophic nature of the text, cyclical patterns in sequences of three movements each (1-4, 5-8, 9-10, plus Amen ) The first group consists of: 1 - Stabat mater (Length: ritornello in F minor), 2 - Cuis animam (Recitative it becomes arioso adagissimo in C minor); 3-4 O quam tristis Quae moerebat ... (Andante: ritornello in F minor). The conjunction of these three movements resembling a small concert, the first and last built with single and ritornello, and the episode as a typical central slow movement, where intense harmonies emphasize the distressed mood already set by the unique key of F minor . This musical pattern is repeated exactly in the second group, in the verses 5 to 8. The progressive animation culminates in the third group where the voice of the poem changes, and the narrator speaks directly to Mary, asking her to share her pain: 9 - Eia Mater (Largo ritornello in C minor) in a texture feature Vivaldi, without bass, dotted notation for violins, violas accompanied only by where the rhythm becomes irregular, the voice becomes more consistent and string accompaniment more intense, especially in the first movement, expressing the flogging as a Bach Passion. The original key is restored to 10 - Fac ut ardeat , a slow soft Sicilian sweet. The final Amen (andante) adds the dimension of the contrapuntal church sonata. Melismatic style provides a framework specifically sacred to the scene and adds an element of objectivity without interrupting the expressiveness of the piece. The cadence and the radiant optimism major chord conclusorio offer a shot dildo.

demand

The austere score strings, bass and lead vocals, probably male, but the falsetto was common as employees so high, for liturgical music were used especially the castrato. The pristine sound that gave the undeveloped larynx and the associated working methods have been lost (naturally) as used today countertenor and contralto voices.

http://rapidshare.com/files/311878423/Vivaldi_Stabat_Mater_Score.pdf

Although there are earlier recordings such as 1959 by Sergiu Celibidache (Orchestra Scarlatti RAI di Napoli and Marga Höffgen, Arkadia), or Ephrikian Angelo (I Solissti di Milano and Aafije Heynis, Ars Nova, LP) somewhat later, totally forgettable in his grand opera concept of thick textures and slow tempi, the album that opened the door to exploring this hitherto almost unknown repertoire was to James Bowman (L'Oiseau-Lyre, 1976), which exemplifies the limitations of range of the countertenor tessitura: the bottom is sometimes fragile and acute area lacks the warmth and softness of a female voice. Ring sweet and touching, constant in dynamic style has conviction and understanding, despite the embellishments agility shows difficulty of pronunciation (the "r"), and his desire not to sing with vibrato does tremolos prescribed in (my edition) the score. The clarity of phrasing and sensitivity in the accompaniment of the Academy of Ancient Music conducted by Christopher Hogwood, allowed to demonstrate a freshness that was revolutionary, not aggressive accents, refined and formal beauty, focusing on the delicacy of the orchestral sound all restraint and rigor. Despite the years this recording still holds the lead in their ability to extract all the pathos which the work. The recording, perhaps consciously rubs off velvet haze.

http://rapidshare.com/files/311437441/Vivaldi_Stabat_Mater_Bowman.rar

The captivating tenderness with which it Gerard Lesne (Harmonic, 1988) this music is unparalleled in discography. Imaginative ornamentation, the deeply contemplative and perfect fusion of texture and balance with all Il Seminario Musicale, which, following the usual Italian practice of this period increases the continuous bass line plucked (but overall it sounds more weaker than the previous AAM). The nakedness of the continuum acquires a layman aroma "O Quam tristis " implying a courtly dance, what kind of canzonetta where only chitarrone attached.

http://rapidshare.com/files/311472617/Vivaldi_Stabat_Mater_Lesne.rar

For those allergic to the original instruments (see historicist criteria) included this reading due to Vittorio Negri ( Philips, 1990) where Jochen Kowalski, champion continuous vibrato, and the large modern string Concertgebouw Chamber Orchestra with its magnificent symphonic sound (that others will sound heavy), detract from the loss of intonation and the unraveling of the string section on "Fac ut ardeat ."

http://rapidshare.com/files/311524542/Vivaldi_Stabat_Mater_Kowalski.rar

Andreas Scholl delivers a powerful expressive intensity coupled with a rare sensitivity, calm and harmony angelic timbre emotion, longing and beauty, fervor, excitement and mysticism, depth in each of the stanzas without losing the narrative flow. Without vibrato, timbre is a marvel of clarity, though sharp and cold in their wide range. The luxurious decoration shown in the repetition of the verses. Impeccable accompaniment of Ensemble 415 under the baton of Chiara elegant Banchini (Harmonia Mundi, 1995). However, there are moments like "O Quam tristis " in which addiction plucked the continuous sound creates some confusion. The recording is unusually heeled to port.

http://rapidshare.com/files/311582474/Vivaldi_Stabat_Mater_Scholl.rar

With a light, warm timbre, Michael Chance (Archiv, 1995) sings superbly, rounded at both ends of the pitch range, recitation and intonation perfect crystal (as in the extraordinary "Quis non posset ") the subtleties of expression without intrusive mannerisms. Surprised by the generous use of vibrato, play with the dynamic adjusting the meaning of the text as " Cuis animam" where to get a velvety softness continued softly. Trevor Pinnock awarded to the lower strings Inglés Consort The completion of the continuo, giving a unique sound to every performance. Making clear sound and resonant.

http://rapidshare.com/files/311633858/Vivaldi_Stabat_Mater_Chance.rar

Robin Blaze's voice, mellifluous and warm, and that sometimes resembles a contralto, says an intelligent sense of balance. The King's Consort directed by the same Robert King (Hyperion, 1998) combines strength and sensitivity, although the cord can be somewhat coarse. It successfully combines a charm the tempo slightly with the oppressive nature that makes the organ, and dynamically highlight the tragedy of the text, for example, in " Quis non posset ”. La toma de sonido es tan cercana que evidencia la respiración del solista.

http://rapidshare.com/files/311687184/Vivaldi_Stabat_Mater_Blaze.rar

Deslumbra el aroma teatral de la versión de Sara Mingardo, poseedora de un timbre de fervor expresivo y calor emocional (fantástica en “ Eja Mater ”), que nos hace olvidar rápidamente como en algún melisma (“ Docentemás) the vowel is closing, closing. Rinaldo Alessandrini Concerto Italiano front (Naive, 1999), underscores the frequent imitation of motives between groups of violins and for that provision in the traditional antiphonal groups of violins (first left and second right), justified from the first bars of the score, along which will radicalize the tempi (very deliberate and very light), we would say that unashamedly operatic. It may surprise some of his decisions, as the unexpected breath slur sublime cuts " gladius, or how ignorant the first eleven introductory bars before the entry of the voice in "Quis est homo ." Pronounced dynamic contrasts are used to project the affections: for example, in the first bar is a fall from a fifth and a ninth increase followed by a descending chromatic bass line with suspensions (bars 5-8). Overall the best instrumental contribution, vital and vibrant. Mediterranean passion and great aviation record.

http://rapidshare.com/files/311760743/Vivaldi_Stabat_Mater_Mingardo.rar

Apart from its attractive and masculine timbre, vibrato omnipresent (can be annoying) by David Daniels and expressive (histrionic?) Operatic approach fails to convey the feeling of pain inherent in the text, apart from its imperfect articulation and diction (such unstable vowels in melismas). What is really interesting in this record is the sublime instrumental contribution (camera, a voice part) by Fabio Biondi and Europa Galante (Virgin, 2001), with his usual mannerisms and displaced accents. The curious and imaginative ornamentation in "Quis est homo " or "Eja Mater " are a breath of fresh air in the marked character of the work stressful. Plucked discreet, accurate and revealing the role of the bass, especially the organ. Sound decision provides a clear and comprehensive range of instruments.

http://rapidshare.com/files/311803561/Vivaldi_Stabat_Mater_Daniels.rar

With Me (and sober self ) reduced the organ, Francisco Javier Braojos, timid voice college and imperfect (and expert Latin pronunciation), puts his willingness and enthusiasm in this recording made by the Friends of the Choir of El Escorial in 2007. Tempi Domain light imposed by the organ played by Alberto Padrón, who can delay the tempo to help the hurried voice at the end of lengthy melisma on " poena." The simplicity of the textures to appreciate as well as voice and organ melodies exchanged regularly. Although the impurities of the song (or perhaps because of them), this recording has all the genuine taste of document stolen hours, lost almost smell cupcakes ...

http://rapidshare.com/files / 311840918/Vivaldi_Stabat_Mater_Braojos.rar

Somewhere I read that the textures to achieve the original instruments are so light and crisp like autumn leaves. Jean-Christophe Spinosi energy commands the Ensemble Matheus (Naïve, 2008), with great dramatic sense of precision and articulation so scintillating that manages to illuminate the details within the dark shadows of autumn. The continuous low marks an ominous atmosphere with dynamic waves, and in dramatic explosions and in whispers almost inudibles, resembling the concertos. Accompanying the text " flagellis subditum " ropes made figures as a whip in an obvious musical onomatopoeia, though perhaps exaggerated gesture, unabashedly theatrical, in the "Amen " and would be noted a lack of synchrony in "Fac ut ardeat ." Maternal approach in its most painful of Marie-Nicole Lemieux, contralto voice warm and large-spirited, his record is rich and smooth, and shows emotional and passionate when needed ("Quis est homo qui non Fleret " ), almost languid in sensual abandon. The recording captures up close and clear the dynamic range.

http://rapidshare.com/files/311877945/Vivaldi_Stabat_Mater_Lemieux.rar

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Chile and Peru: Brothers in Arms


The relations between Chile and Peru have entered a new phase of tension following the apparent unmasking, in Lima, an officer of the Peruvian Air Force in name Victor Ariza, who, according to a report the government of Alan Garcia, was spying for an intelligence network monitored from Santiago.

The theme would be just an anecdote or a footnote in the history of relations between both countries but it was because the government decided to escalate the matter Lima, taking it to the headlines, the future summit of UNASUR and where they can, through a sustained media campaign, including interviews Wholesale Foreign Minister Jose Antonio Garcia Belaunde, and his defense minister, Rafael Rey.

At the same time, antiarmamentista Lima is promoting a campaign on the continent, to send ministers to various capitals in order to spread his idea of \u200b\u200ba "nonaggression pact" between Latin American countries, which would aim to reallocate resources now spent on weapons to fight poverty and inequality.

Commended goal, no doubt, but was critical because while the arms of Chile which is litigating in the Court in The Hague on the issue of maritime delimitation. So his pacifist crusade is not purely altruistic and selfless. Has a name, and its objective is to neutralize a very concrete threat, stirred by nationalist Rimac, who suspect that Chile can not ignore an eventual ruling against them and resort to arms to defend their position at all costs.

It certainly ask some questions. Was it proper for Santiago, as a first reaction to the incident, postulating that "Chile does not spy," thereby attempting to close the subject? I fear not, because the truth is that in the world of international relations is an accepted fact that espionage or intelligence part of the game. And a country that is deprived of that option, probably could even be accused of being irresponsible for refusing to have antennas that allow you to know what's happening in your neighborhood and around.

espionage, despite its bad press, or the idealization cheaper than it is in the James Bond films, contributes to a system of checks and mutual supervision among countries, which ultimately ends to ensure a balance, as it brings out intentions threatening. The delivery of the atomic bomb secrets U.S. by agents such as Klaus Fuchs to the Soviet Union, contributed, as paradoxical as it may sound, a balance of forces for a long time ensured world peace. And similarly, other examples.

The problem is not spying, but get caught ...

The problem is not spying, something they do all countries, as recognized by the Bolivian minister, who got a bit of sanity in the midst of this absurd comedy of errors. The downside is that getting caught, and once that happened, things do not end, as industry codes ordered en warnings " sotto voce," but in public complaints or on orders of explanation. What is not listed in any of the manuals of intelligence or "recontraespionaje," as the Super Agent 86.

Another question that has become clearer with the passage of time is as follows: the government pretended mess Alan Garcia's recent APEC summit in Singapore with his bombastic denunciation? Evidently not. That same Garcia was surprised by the leak of the news of the arrest the officer Ariza, because, as you said Garcia Belaunde, this report favored the flight abroad of other Peruvians involved in the case. And while the possibility of laying a trap to the alleged "control" Chilean Ariza, exposing them harder.

And here is where it is recalled that the President of Peru was temporarily in charge of Admiral Luis Giampetri, a retired admiral of past Fujimori, who holds the post of vice president and, therefore, takes the baton of command in the absence of Garcia, at the time that someone in high places of Peru, decided to "break" the issue of espionage and put them together to Michelle Bachelet and Alan García in serious trouble.

The lessons that emerge from all this are clear: there is "internal" policies that are put into play masked under the guise of foreign policy of the countries involved. What in the Peruvian case seems to be more evident than in the Chilean case. Considering that Chile is on the verge of a crucial presidential election, it seems that there are certain sectors in Peru who want to exercise the "right to vote in Chilean elections, trying to force a hysteric nationalist backlash.

Yet it would not have saved ammunition. Trying to President Bachelet of "Conchuda" in the headline of a tabloid newspaper, and then giving vague and confusing explanations semantics. And now waving the flag of a country spied on by the "jealous neighbor" (the words of President Alan Garcia, whose political program is basically emulate Chile, and from there, if possible, surpass).

The danger is that the escalation bombastic and offensive seems to have no end. Leo in the Brazilian daily Folha de Sao Paulo "an interview with Peruvian analysts to explain the tension due to the high penetration of Chile in the Peruvian economy. Ingenious theory, no doubt. The owner of the box is this: "Chilean economic Invasion is fuel for bilateral tension." And in the main note, Garcia Belaunde recalled that Chile is the "fifth or sixth largest foreign investor in Peru." Before

absurd size, Chile should remember that Peru has not proceeded in the same way when intelligence has detected Lima actions (in the case discovered a short time ago, got the failed spy on the border, along with a "doing take this", but was not biggest question of the case).

It should perhaps also recall the methods by which the confession was started Peruvian suspected spies acting under the orders of Chile (on You Tube is hanging the interesting testimony of the alleged spy's daughter Julio Vargas Garayar also NCO the FAP, executed in 1979), to see if they are unsuited to any kind of legal action more or less civilized.

Anyway, why go ... And if you are bothered investments, missing again, it is only a matter of realizing it, so that capital in general, no country, take other courses healthier than Rimac.

After all, someone in Chile would think that if a country that today is weak, comparatively speaking, with a per capita income of $ 8 000 to 15 thousand of Chile, is allowed to speak with the insolence and aggressiveness with which Lima has spoken against its southern neighbor, what else would you expect from a hypothetical country stronger in the future that would have benefited from the naive investment of Chileans.

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Why will win Frei


Chena Professor Patrick, Master of Arts and PhD in Political Science from the University of Alberta, I do get quick analysis in a paper vuelapluma made, the latest survey by the CEP . Tontilandia survey that is not over stressed, has a status similar to the prophecies of the Delphic oracle. Here are his judicious reflections, which I quote verbatim, without implying, of course, that the full share:

● Piñera stagnant and without proposals. When you Twitter astute forecast by 38 percent (ie, one point more than in the previous CEP which contained with 37), the hard reality Sebastián Piñera ranked two spots below these expectations, with 36% percent that smells of stagnation and lack of proposals and prominence. It is worth remembering, moreover, that the CEP survey November / December 2008, the investor who wants to be President Frei surpassed by the same distance by which now exceeds ten points, with the difference that time was installed in a solid 41 to 31, and not the poor from 36 to 26 today. Another interesting comparative data: When respondents were asked, who do you, regardless of their preferences, which will be next President of Chile, 51% of Chileans believed that the man who tricolor fringe bind it on his torso would Piñera, while only 5% thought it could be Frei. Of course at that time Marco Enríquez-Ominami and dreamed of making entry into the stage, and there were two other strong contenders in match: Ricardo Lagos and José Miguel Insulza. Oh, and a Mr. Farkas, who had a 2% excited to see him in La Moneda ... Today, however, 49% believe they will win Piñera, a 27% stake by Eduardo Frei, and 8% play their chips to the ME-O option. ● Setting

peaking and looking for his destiny . Was an open secret in the command of former socialist deputy in the CEP survey, which began field work in October, was not going to be fine. "I go to shit", say some who confided to his intimates. So favored an international tour through the neighborhood, whose goal was to show statesmanship size and "big dog" at the expense of the hardworking door to door and make the land work. Already on the eve of that unveil the great enigma, people close to Marco, who boasts of moving like a fish in water in the world of social networks and the Facebook universe, launched air balloon test an estimate I showed up four points (from 17 to 21), while Frei and Piñera remained more or less stuck to their brands, with 38 and 27, compared with 37 and 28 earlier. Marco, no doubt, is the "new year" in this election, but gives the impression that was projected with great force, from the time of its sudden onset, but then, as a sort of brilliant fireworks , lost propulsion and can not go to heaven the second round dream. ●

Frei and the theory of "the Indian atrasito pica" . Let us state clearly and without euphemism: if Senator Eduardo Frei read the polls and their predictions as if they were the truth revealed Today he is not the candidate of the Concertación. When asked last year to the Chileans, who they thought would win if elections were internal to the coalition's presidential candidate, Ricardo Lagos exceeded by several bodies Frei distance. And while only five hundred respondents had confidence in the senator DC could re-occupy the presidential chair, 11 out of every hundred thought Lagos was in better position to repeat the asparagus. In other words, Frei is a resilient assigned a high value on consistency and perseverance in politics, though this may seem a feature "conservative" to some.

Some preliminary conclusions:

1) It seems foolhardy, if not untenable, think that the right can win in a country where all the surveys show that people want more government, not less regulator. Especially from an economic crisis that grew out of the market that spread without any control from the center to the periphery of the globalized world, and that led to the derivative or "toxic assets." seems impossible that it intends to claim the victory right in a country where the government of President Michelle Bachelet concludes its management with a 78% approval , and political figures Top rated Bachelet called first, then Andres Velasco, José Miguel Insulza, Marco Enríquez-Ominami (with all its contradictions, but also expressing a strong desire to spare) and Ricardo Lagos.

2) As the memoirist Funes, legendary character of Borges, I attach great importance to the historical reference. Let me therefore other data from the recent past that I consider relevant. CEP survey in October / November 2005, these were the omens that arose: Bachelet, 38.4%; Piñera, 22%; Lavin, 19.4%, Hirsch, 3.9%; Null, 10.1 % White, 5.5%. Ie the two candidates of the Alliance together accounted for four years a respectable 41.4% of preferences against the top anyway 42.3% of the votes to block-Hirsch Bachelet, who was not, however, the same consistency or ideological affinity. (In fact, Hirsch, who is now with Marco, called not to vote for Bachelet in the second round, hanging from its communist allies.) And we all know how the story ended ... So it's premature, I think, make merry accounts, as some take right now.

3) I think the pineapple is wrong, so fatal to his claims, by inflating a bowler hat, through the media complex that is similar (basically the duopoly El Mercurio, La Tercera), nominated by Marco Enríquez-Ominami . They did so guided by the premise that everything was good complicate Frei. But seemed unaware that Marco, with its proposed generation gap and "tabula rasa " in the style of Catiline in Rome, also stole the eagle eggs from the Alliance. And those eggs stolen can tip the balance against you, tomorrow.

4) The unusual role of Marcus also meant to steal camera Piñera, and move the center of the political scene . Recall that the only time the right was on the verge of defeating the center-left bloc dominant in the last twenty years post-dictatorship, was when Lavin took over the discourse of change, and that meant that in the second round Lagos managed to win just a difference of 30 thousand votes. Now NATO has practically no speech or proposal itself. Limited to lament Velasco access the page Frei command while the budget debate in Congress. And gets involved in splitting hairs about whether incorporated or not in a gay couple in television time. Question that bothers - and how! - The soul that breeds fundamentalism in their midst.

5) It is paradoxical that Marco is presented, in light of the figures, as the best option against Piñera Frei, on the stage of "second ballot." This is indeed the case, because the numbers indicate that he arrived in this instance, would get 37% versus 40% for Piñera, while in the case of Frei access to the second round (which is the most feasible alternative According to the survey CEP), it would reach the same floor, 37%, but would stand six points behind Piñera, which is marked by 43 percent. What irony of this whole story? The competitive framework is based largely on their ideological ambiguity in the substantive issues (the son of Miguel Enriquez was in favor of privatizing part Codelco and fear not, for instance, accompanying a candidate for the UDI to a public ...). It is no coincidence, for example, the survey says that 54% of Frei's supporters would be willing to vote for ME-O in the second round, and only 12% would give their vote to Piñera. While in the case of the followers of Marcus, things are much more divided: 39% would vote for Frei and 29% would vote for Piñera.

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Heinrich Ignaz Franz von Biber: Passacaglia

In general the names of the virtuosos of the Baroque period that we know are Italian: Corelli, Torelli, Geminiani, Vivaldi, etc., But probably his greatest violinist was Germanic: Heinrich Ignaz Franz von Biber (1644-1704). The founding of the Brotherhood of the Rosary in Salzburg in 1676 made plausible in this context the composition of the 15 sonatas dedicated to the Mystery of the Rosary. Although not documented her membership of the composer, this time adding two names and central-Ignaz Franz, the names of the founders of the Jesuit movement (Ignatius of Loyola and Francis Javier).

Although the prayer to a guardian angel following the rosary in the Catholic devotional prayer, Passacaglia in G minor is arguably outside the ring (unlike the rest of the body of the violin plays solo and is tuned normally and can even be considered the hypothesis of recycling of an earlier work), preceded in the manuscript by an engraving of an angel holding by the hand of a child. Without trying to be dogmatic, but to add or show possibilities, it should be noted that in addition to music, Biber was a public authority in rhetoric, so that the work, though not strictly programmatic, can have a symbolic about hermeneutics, in which the ostinato might allegory with permanent and unchanging guide Angel, with the variations representing the child's vital games.

The choice of a passacaglia descending tetrachord and the subject indicates the deliberate use of the earlier formula of Baroque music: from the tonic to dominant in the minor mode (sol, F, E-flat, re) is presented as an ostinato static simplicity, which is repeated 64 times throughout the play: after the first thirty in the octave (which is treated as a bass line) in the next fifteen appears an octave above (While the counterpoint comes down to the bottom), after a pause, in the last twenty returns to the grave area. This pattern is traditionally associated with Italian passacaglia, but also the first line of the contemporary hymn "Einen Engel geben mir Gott" (God, grant me an angel). However, the overall structure of the work is divided into five groups (plus an introduction and a coda) monodic defined by the return of the ostinato. The excitement comes from the wrath of technical exploration, construction in sections alternating chords and arpeggios, the pervasiveness of dance, improvisational style that gradually increases intense rhythmic texture. The compositional sense and intuition violin ensure the maintenance of tension, and discovery of new possibilities alternating with a return to simple theme. Biber used in its development every possible conceivable technique in contemporary violin: tickets to double and triple rope, broken octaves, fast-paced up and down scales, arpeggio figures, with the bow breaks, positions as high as the seventh, including writing three voices. However, there is nothing superficial in the result, any athletic challenge for virtuosos, Biber places all its effects in the service of music, scoring both dramatic and spiritual. In conclusion, in its conception magneficiencia polyphonic, harmonic and contrapuntal exploration and progress in violin technique, can be considered the direct precursor of the Bach Chaconne.

http://rapidshare.com/files/292760214/Biber_-_Passacaglia_for_solo_violin.pdf

After the early and heroic Max Rostal, Susanne Lautenbacher (VoxBox, 1962), without pause necessary to emphasize the dramatic moments, "and Eduard Melkus (DG Archiv, 1967)-vibrato out of style, tempo slightest which perhaps implies loss of identity ", the sound Maier Franzjosef acid (Deutsche Harmonia Mundi, 1983) discovers the true dimension of this work, the pitch may not be a model of perfection, and perhaps even the monotone dynamic line is online with the current model baroque historicism, but is desolate sidewalks and breaks, and employs a joint staccato, sharp and cutting on a violin signed by Michael Achner 1746.

http://rapidshare.com/files/292768873/Biber_Passacaglia_Maier.rar

Tan

meditative, soulful and introspective John Holloway (Virgin, 1990), elegant formal containment (cowardly?), And the regular tempo that comes in each repetition of ostinato motif, seems to lead only beauty in subtle final resolution. How said that lack the romantic " not know what", without which the music is not only a succession of sounds, and I find myself (horror) thinking about something else. The record reflects perfectly the atmosphere of the Swiss monastery where the recording was made, but it is too far on the violin, losing and blurring of detail.

http://rapidshare.com/files/292778290/Biber_Passacaglia_Holloway.rar

Reinhardt Goebel (DG Archiv, 1991 ) said in an interview that this music affects the sexual plane (!) Maybe it on a first listen to the tempo (objectively vivo) seems to demand greater distress, but the relentless pace, the sense of interior tears, guilt, spurts. The expressive lyricism, poetic fantasy, strong contrasts and colors, the whole feeling dance and drama, emphasizes the interpretation rather than technique, and this is incredible, dizzying, not only for speed but for its velvet sound. The joint is light, flexible and varied phrasing perfectly punctuated, passionate, while abrupt chords clearly marked the end of each section. Crystal Acoustics, precise and polished study, veiled and delicious sound of the violin, picked up as close as you hear the wood groan of the box. At another level.

http://rapidshare.com/files/292783935/Biber_Passacaglia_Goebel.rar

Discard Letzbor Gunar consecutive recordings (Arcana, 1996), Catherine Mackintosh (Chandos, 1997) at the controls of a violin Mariani dated 1670, and therefore strictly contemporary work and extracting a nice ring, but the vision is metronomic, almost industrial feel weaker version due to the Ronez Marianne (Winter & Winter, 1998), the dramatic reading of Walter Reiter (Brilliant, 1999) technically flawless, with an uneven sound; and Rüdiger Lotter (Oehms Classics, 2004) insecure intonation. However it should be noted that of Alice Pierot (Alpha, 2002) intimate, sensitive, and reflective, with its subtle friction on the strings, which give a sense of spontaneity, live performance of flapping wings.

http://rapidshare.com/files/292790423/Biber_Passacaglia_Pierot.rar

can be considered to Pavlo Beznosiuk (Avie, 2003 ) the champion of serenity, avoiding dramatic contrasts and moderating the use of dynamic, looking for a bold and earnest humanity that tends to threaten the architectural structure (and unbreakable) of the work. Indeed, this calm can lead to in docility and pale, becoming criticized the lack of fantasy and continuous legato. Excellent technique (what great sixteenth note) on a German violin circa 1690 of extracting a soft and mellow sound, without vibrato. Before the passacaglia, the British actor Timothy West read a text on " The method of Saying the Rosary of Our Blessed Lady as It Was ordered by Pope Pius V and it is Said by the sodales of the rosary, in the Inglés-benedictin College of S. Gregories, at Douay, where resonance excess impairs their understanding.

http://rapidshare.com/files/292811145/Biber_Passacaglia_Beznosiuk.rar

The perfect pitch by Andrew Manze (Harmonia Mundi, 2003) supports a vision of inspiring devotional is geared towards more abstract and metaphorical aspects of music to his spiritual heart , rather than thoughtful or reflective, would say that contemplative, monastic and even liturgical. This austerity, temper, moderation, can be criticized as a methodical, academic, focusing on technical (Protestant) than in the lyricism (Catholic) of the work. For complete official the rite with an ascetic Amati, ca. 1700 to which sometimes leads to a shrill sound takes great closeness, spatial, and biting harmonics.

http://rapidshare.com/files/292820573/_Biber_Passacaglia_Manze.rar

The characteristic feature of the reading of Monica Huggett (Gaudeamus, 2004 ) is the baffling inclusion of a rate itself (after the bar 91) which in my humble opinion is no place in a work as rational as this. However, it is recommended only version: chords have never sounded so transparently arpeggiated and air, its natural expresiva e inteligente, imaginativa y extrovertida en el detalle y color, e introspectiva en el acentuado acercamiento narrativo (concepto éste básico del barroco), la calmada diferenciación de las notas con mayor peso en la composición (en la conversación), el embeleso en la suavidad tímbrica, la optimista, secular, fluída ligereza de arco y su articulación aserrada, el amplio rango dinámico, la flexibilidad de tempi… Todo ello conjuga una de las versiones imprescindibles de la obra.

http://rapidshare.com/files/292832118/Biber_Passacaglia_Huggett.rar

The emotional nature of the passionate reading of Riccardo Minasi (Arts, 2006) brings the joint victory tied, trills and accentuated dynamics, in short, the contrasts of all types (dynamic, rhythmic, dramatic). This narrative style of ornamental Mediterranean exuberance, the limit of their possibilities of sound (orchestral, coloristic, texturísticas) and expressive, full of drive, unlike every variation (pianissimo arriving at once to rescue him from the depths) and sometimes emphasizes the vibrato with a sensitive use of rubato without losing sight of the main lines of the building. Excellent recording, collecting and naturally proximity to the beautiful sound of Amati dated 1627.

http://rapidshare.com/files/292843485/Biber_Passacaglia_Minasi.rar

An Acrostic Poem For Twilight

"For there must be something be done ..."


"For there must be ..."," Something will have done ... " Those were the evidence to be raised within the Southern Cone of America when our country was the battlefield of World War III. And Centurions felt obliged to give explanations for his actions reprehensible, disappearances, torture or, at best, sentences without trial.

The demonization of the enemy and, if possible, the complete dehumanization, calling it, for example, "humanoid" was a prelude to physical settlement, since, as we know, had to remove a malignant cancer that corrupted the social body "can not make omelets without breaking eggs" to follow in the line of trying to justify the unjustifiable.

Such thoughts came to my head as I heard the bitter lapse Alberto Cardemil deputy, who, Asked, with regard to the recent death of singer Mercedes Sosa Argentina, why banned at the time, in his capacity as former Assistant Secretary of the Interior of the dictatorship of Augusto Pinochet, Chile's entry into the artist Tucuman, said the reason was their status as principal member of "extreme left."

I said, I imagine, without even blushing, with the naivete of some kind of fundamentalist Chilean right, who does not care at all sail against the tide and good sense.

said Don Albert, who likes to be linked with huasa culture, as it is considered a good defender of our traditions: "We all know Dona Mercedes, who rest in peace, was a political activist linked to the extreme left . Like other artists of the time, we all knew in what began and ended no one knew what "he told the online newspaper Exchange 21, who called to remind her not too distant past of censor.

Cardemil (now independent, although In a few minutes played for National Renewal, the match Piñera) said the decree was signed at a time when the governing " rather was an authoritarian system (will finally see one of the dignitaries of Pinochet was recognizing that authoritarianism ...!), special rules of law regarding public policy and activities. Neither had political parties, so that was an exceptional situation. "

While saying ignore the reason for the decree in question, applied in 1988, on the eve of the plebiscite where it won the "No" to the perpetuation of the dictatorship of Pinochet, said he was confident that it was fully justified in these terms: If at the time the order was issued, there must be a . Just as the emergency measures were a country, which had been destroyed and undone by the Popular Unity, democracy was restored, we are now. "

Well, I did not tell them?, Which destroyed democracy in Chile and served a dictatorship for almost 16 years were actually undercover Democrats who worked hard within the "belly of the beast"-that is, in heart of the dictatorship to restore the rule of law we enjoy today.

must be very " car'epalo ", in fact, to support arguments like this. But the honorable member, no doubt, has a masters in these matters. Without going any further, suffice it to recall that it was he who, as government spokesman, kept in suspense to the country the evening of October 5, 1988, when, on instructions from dictator, figures were not delivered over the outcome of the plebiscite which had been adverse.

to that in a moment, for higher pressures, some of which came from within the Armed Forces (the case known as Fernando Matthei general, commander of the Air Force) and some from farther north Pinochet was forced to take back foot on his plans to stay in power at all costs, and instructed Cardemil to publicly acknowledge defeat.

That was when our illustrious legislature, our native-Cato who protected us from harmful influences, gave the order to turn the TV channels to stop broadcasting the adventures of Popeye, Road Runner and other cartoons. And appeared, crestfallen, bitter, at about 2 am, before the cameras to point out that in the final count of votes "yes" got 43% of preferences, compared to 55.7% of "No".

Can Tea Leaves In A Tea Bag Go Bad

Who are the owners of transparency in Chile? Lapsus linguae

Taken from Que Pasa, the October 3, 2010:

"Who pays Chile Transparente?


After two weeks of intense movement, the companies that fund the operation of Chile have followed closely Transparent The controversy arose in the Chilean chapter of the NGO. And no wonder: almost 70% of the funds that does the entity chaired by Karen Poniachik comes from private. Among them, there are 15 companies: most large firms, linked to major economic groups.

Of the $ 188 million the organization received as donations or sales of services in 2008, 40% were resources provided by eight companies, among which CMPC, Chiletabacos, Derco and VTR. These companies are considered "cooperating members" as well as delivering an annual amount that fluctuates between 600 UF and UF are the 1,250 older employees of the entity. This explains, for example, that members are Patricia Matte Transparent Chile (whose family controls the Trash) who also was in the previous policy, and Jose Luis del Rio (Dersa).

Another category of donors are "benefactors entities, which include a Sudamericana de Vapores, Banco de Chile and the Consortium, which last year gave $ 39 million to carry out the" civic values \u200b\u200beducation. " There are also cooperating in a particular project. Last year, AntarChile, Banco Santander, CCU and Falabella awarded $ 22 million to "track" the processing of Probity Agenda.

naive question: If among the contributors were LAN background, would he have mentioned in the controversial report that all of Chile is currently discussing Sebastian Piñera? This "keyhole" of the magazine Que Pasa confirms the wisdom of that old adage that states: "Whoever provides the money, puts the music." Although sometimes the shot can backfire ....

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.

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.

http://rapidshare.com/files/283957926/Pictures_from_an_exhibition__orchestra_music_score_.pdf

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.

http://rapidshare.com/files/283956296/Mussorgsky_Pictures_Koussevitzky.rar

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/283995012/Mussorgsky_Pictures_Reiner.rar

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.

http://rapidshare.com/files/284057059/Mussorgsky_Pictures_Karajan.rar

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.

http://rapidshare.com/files/284241153/Mussorgsky_Pictures_Giulini.rar

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.

http://rapidshare.com/files/284261671/Mussorgsky_Pictures_Solti.rar

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.

http://rapidshare.com/files/284293264/Mussorgsky_Pictures_Sinopoli.rar

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.

http://rapidshare.com/files/284320544/Mussorgsky_Pictures_Celibidache.rar

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

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."