Canon Elura 100 Driver

EIinstein never memorized, learned playing Temple Grandin

The importance of play.

play is not only good, is also much better than hit the books. After decades of research, child development specialist have come to one conclusion: the game is the best way for children to learn. In addition to dismantling the myths that have spread the accelerated-learning industry trends hyperstimulation, this book provides parents and educators a practical guide to teach complex concepts through play smart, simple and loving

Hirsh Pasek, Kathy

Editorial Ediciones Martínez Roca, SA

And where has been the game? Relegated to the status of five-letter word! In 1981 the typical school-age children available for nearly 40 percent of their time to play. In 1997, the time reserved for the game had dropped to 25 percent. Moreover, 40 percent of U.S. school districts has come to eliminate the time for recess.

addition to the pressures which is being immersed in a full daily schedule of activities, children are also experiencing a new way of "course inflation", ie what is traditionally taught in a particular course must now be learned in the previous year. For example, he would start with reading in 1. º. But now, increasingly, we teach reading in kindergarten and preschool. And many school districts are considering the possibility to consider reading as a requirement for entry into kindergarten (although most experts agree children in preschool and kindergarten is worth spending time practical Games and development of social relationships).

I Have Fibroids And I'm Pregnant

Brahms. Symphony No. 1. Haydn Variations. Wilhelm Furtwängler. Vienna Philharmonic Orchestra. 1947. 1952.

Dear friends, tonight I want to make further testimony to the supreme art of the great Furtwängler. I chose this beautiful debut CD of the collection of works by Brahms. Its content is exceptionally beautiful: the beautiful and unique First Symphony and the always brilliant, charming and beautiful Haydn Variations. A classic album, which has always been stunning fans and say "no less" admirers even among their own recordings of Furtwängler.

time ago left an entry identical to this with the approach (I think the best has been done together with those of Szell with what I consider a true work of art and a unique monument) of Furtwängler and the orchestra NDR Symphony Orchestra Hamburg in some exceptional recordings from 1951 that I recommend visiting the enormous value of http://juliosbv.blogspot.com/2010/05/brams-sinfonia-n-1-variaciones-haydn disk. html

Furtwängler, I think not saying anything new, was a gift, I did had something peculiar true interpretations of their discoveries, unique and unrepeatable, became an adventure in which we discover wonderful surprises, always new shades, sounds, turns, changes and sensations. Something very similar to what could Celibidache in their performances but I think with a difference: natural. Musicians had their own stage fright, not knowing where he was going to devise the implementation of Furtwängler and many were shocked or scared to say the anarchist movement, apparently with no sense of the baton, hands, gestures or gaze of the master. This does not mean they had no preparation, I had it, but ... always the surprise of the day was magical interpretation. And unlike Celibidache, Furtwängler was not averse to recording studios in addition to getting amazing results. (In review, such as on this disc).

with the interpretations of the Beethoven Symphonies something very similar happens. There are gems record taken in concert Beethoven show a unique, one in each hand and always wonderful. But whenever I hear his comprehensive EMI I can not but impress of his Seventh, make my soul with the Fourth, amazed at the beautiful simplicity of the First and Second Symphonies, chills with his third, to admire the purity of its eighth or ninth hat off to the sunset. Always, always I have as a reference case for taste.

The Brahms First Symphony is one of the greatest symphonies ever written. Absolutely wonderful, exceptionally written, soulful, musical beauty, wonderful themes, a beautiful instrument with highly emotional passages, with a colorful orchestral sensual and full of passion. A work of genius, of very long construction time, from 1862 until its release by Otto Dessoff the November 4, 1876 in Karlsruhe spend almost 14 years. Brahms's own uncertainties, external pressures to become the new Beethoven, etc. Many factors influence this long gestation. But it is a fruit in point, ready to enjoy, be like Beethoven or not, will want to be or not to continue (what a beautiful tribute to Brahms the greatest of all time) the case is that the end result is a symphonic work own, beautiful, different, which overcomes this barrier historical and musicological Beethoven to become a play with identity and self worth. An important influence was Brahms and that was a big push for its completion was the success of the precious Haydn Variations, 1873. And the final result is a wonderful combination of influences from Beethoven to his beloved Bach reflet a basket of new flavors, colors, renovated, fresh scents. A work of beautiful melody, beautiful counterpoints of superb technique and profound emotion.

The play takes place in a sensational passing through a first move bellísmo, tremendous depth of soul going through a slow second movement, and bittersweet melancholy third movement followed by a wonderful, pastoral and idyllic, with a stunning timber and reaching one of the movements most beautiful end can be heard for their wonderful structure, escepcional reason of the tube, the choirs of trumpets and trombones impressive and the final development as progressive wonderful hymn to his impressive final trombones metals proud.

All she is able to move you from beginning to end, to bring out your most hidden feelings, to make you smile, amazed and mourn as few works are able to do so.

exceptional work in all a unique, amazing and just wonderful.

Furtwängler and the Vienna Philharmonic Orchestra do the rest. Furtwängler is superb, coloring and highlighting details of a sensational, leading to a unique energy and depth. The orchestra is beautiful in its interpretation, with superb sound, a perfect physique for this work, a deep sound, lyrical, gentle, cheerful or emotional depending on the time. And Furtwängler takes out the essence of music: the passion and feeling.

exceptionally hard in all a valuable, unique or in addition to other recordings. A record of the ancients, of those who have soul and meaning. A disc that allows you to enjoy and savor the art Brahms directorial Furtwängler and stunningly beautiful that can be the Vienna Philharmonic.

Enjoy a wonderful and beautiful always Haydn Variations with grace, musicality, nuance and sonority that Furtwängler print this small work of art and enjoy the coral final truth.

monumental

a single disc. A disk header. hard to admire a lot.

Brahms Symphony No. 1

Haydn Variations

Wilhelm Furtwangler Vienna Philharmonic

Sinfonía nº 1: 27 de enero de 1952. Viena, Sala Dorada. Live. OF de Viena. (La anterior entrada reflejaba como fecha la del 17 al 20 y 25 de noviembre de 1947. Viena, Sala Dorada. Nuestro amigo Quim me comunica que hay un error que efectivamente existe. El CD de EMI que poseo tiene la fecha errónea y no parece que corresponda a la grabación en estudio de 1947. Los típicos aplausos del final lo indican así como la duración de las pistas. Pido mis más sinceras disculpas por tan gran error. Muchas gracias amigo Quim).

Variaciones Haydn: 27 de enero de 1952. Viena, Sala Dorada. Live. OF de Viena.

Mp3: http://www.megaupload.com/?d=S57WY7E6

FLAC: http://www.megaupload.com/?d=TCBSMV0U

Pinnacle Appalachian Trail

Bruckner. Symphonies No. 3 and No. 8. George Szell. Cleveland Orchestra. 1966. 1969.

Queridos amigos, retomamos la actividad con un maravilloso doble CD de George Szell y las sinfonías de Bruckner Tercera y Octava en las aproximaciones realizadas en estudio para Sony. Un doble CD estupendo, con una visión de Bruckner diferente a las normales, desmarcada all speech monotonous, rigid or too romantic.

Szell, wonderful as usual, shows us in an excellent way Bruckner, clean and well structured, wisely led by the wonderful hands of Szell is offered with a firmness and clarity rare.

particular always struck me as the approaches to the Bruckner Third Szell conducted the most beautiful I have heard very similar to the unique interpretation of Böhm for Decca. Justice is to say, at least for me, is the symphony that may have an easier approach and became the door to Bruckner's musical universe with the Fourth Symphony and its themes, beautifully reflected in later times by another superb musician, Maurice Jarre, in its impressive soundtrack to Lawrence of Arabia.

Szell estimations are extremely vital, refined, with a great dynamic vision, with a frantic pace beautiful, amazing accuracy in the instruments of Szell steely phrases are polished to an extent unusual in it and make us Bruckner listen to a live, dynamic, perfect but not too cold. A very rich in nuances Bruckner sound in orchestral color, in dynamic, fast and not allowing accelerated track of all the musical discourse easily, resulting contagious vitality and deeply energetic. His latest move, for example, is to remove his hat.

technically is a work that takes a step forward from his previous symphonic compositions, sun and noise amplitudes constructive and Bruckner glimpse into the future, their motives are constructive and the future germ cells that act of reason brucknerianas conductor. You do not have the scope or extent of his subsequent compositions, but is beginning to "sound like Bruckner." The book is full of beauty, extremely melodic and lyrical moments, ample space for gathering, vitality, energy and strength.

An exceptional symphony in the hands of an exceptional director and a marvelous orchestra. Although the Cleveland Orchestra does not have the sound they achieve European orchestras, precision, perfection and achieving delivery performance is impressive simply superb, energetic, passionate, vital, deep and simply outstanding.

Szell using the version of 1890 in-depth review of Bruckner, Josef and Franz Schalk. Theodor Edition is Raettig.

As the Eighth Symphony we had left on the blog, the approach in concert with the Vienna Philharmonic, unique and downright beautiful. For my taste Jochum is the musician who has best trasnmitirme the soul of this monumental symphony, but I recognize that this recording studio with Szell Cleveland Orchestra is simply brilliant. Again to apply the same adjectives we have assigned to the interpretation of the third and although in this case may not reach such high levels, Szell build a monument unique sound, perfect, nuanced, superbly directed, intensely emotional, very clear phrasing, perfect Technical instrumentalists and sound absolutely amazing. A wonderful approach, frankly wonderful.

Szell In this approach uses the 1890 version of Bruckner and Josef Schalk in Leopold Nowak Edition, 1955, a more grandiose than the original, more beautiful and more subtle harmonic instruments, primarily in the beautiful woods. The truth and the truth is that the work a great success at its premiere in Vienna on December 18, 1892 by the Vienna Philharmonic Orchestra under the baton of Hans Richter and the qualified criticism even symphonies symphony or summit of the romantic symphony (unlike what happened with the third that led Bruckner to be immersed, without eating or drinking in the fight Wagnerina-Brahmsiana).

states only that it is a superb performance that deserves listening and knowledge. Sure you will find others with similar or higher virtues. But this has a special charm. Bruckner Szell is at its best. And that's plenty.

Here is the full Mp3 and works with both Symphonies No. 3 and No. 8 FLAC to separate the covers changed. Pointing finally the great sound quality achieved in both recordings. A joyful enjoyment remains open. That it can achieve.

Bruckner

Symphony No. 3 and Symphony No. 8
George Szell

Cleveland Orchestra

Cleveland, 28 and January 29, 1966, No. 3

Cleveland, 3, 6, 10 and October 13, 1969, No. 8.

Mp3 (full): http://www.megaupload.com/?d=GDKRT44Z

FLAC

3: http://www.megaupload.com/?d=5OR2DM16

FLAC 8: http://www.megaupload.com/?d=N4QPHYDK

What Gloves Does Transporter Wear

Dvorak. Stabat Mater. Serenade for Strings. Vaclav Smetacek. Czech Philharmonic Orchestra. Prague Philharmonic Choir. Rafael Kubelik. English Chamber Orchestra. 1961. 1969. Processional Marches

Dear friends, today Holy Saturday, a week very unpleasant in regards to the ongoing impact Weather the weather, I want to leave a work simply wonderful Dvorak. A work that is well suited to understand the spirit of these last days that we celebrate Easter and to help calm the spirit of many people for their musical beauty and enormous spiritual content.

The prayer of the Stabat Mater is attributed to various writers, including Innocent III, St. Bonaventure and the Franciscan Jacopone da Todi (most likely) all of the thirteenth century authors and relates to the suffering of Mary during the crucifixion of Jesus, expressing compassion the suffering of both people and key figures in our history.

The Stabat is a sequence of the Catholic liturgy approved as such in 1727 and the few that remain in the Catholic corpus currently associated with the feast of the Sorrows of Mary (the sequences that remain are for Easter, Pentecost and Corpus and in the specific case of the Dies Irae Requiem). At the same time is a small "anomaly liturgical "it has two parties in the saints for celebration (although the Stabat is more associated with the feast of Easter to September 15, The Seven Sorrows).

is one of the literary texts that more music has been adapted, by authors from different periods, schools, styles and musical visions have passed the Stabat palabas to be translated into musical notes, each and every one of them a particular beauty (Pergolesi, Palestrina, Vivaldi, Haydn, Rossini, Poulenc, etc.).

Dvorák began composing his Stabat Mater at 35 years of age in the spring of 1876. However, several tragic events in the Czech composer's family were the ones who gave birth, or rather, foundations of the emotional basis of his work. In September 1875, Dvorak's daughter died, Josefa, two days after birth. Full of sadness and longing for Josefa, Dvorak captures her pain in musical notes. In May of 1876 interrupted the work devoted to other projects. A year later, in August 1877, his daughter Ruzena, eleven months old, was poisoned with phosphorus match and barely a month later, on September 8, 1877, birthday of composer, dies of smallpox, the third son Dvorak, Otik, three years. All these tragic events are without doubt in the back of the spirit of Dvorak's work to which we must add (in spite of all the past by the composer) his deep love for God. The overall composition extends from the February 19, 1876 until November 13, 1877 that was completed the orchestration of it.

The play was performed for the first time in Prague on December 23, 1880 conducted by Adolf Cech having great success and soon after being represented by Janacek in Brno and later in cities such as London and Budapest.

Structure of the Work

1. Choir Quartet. Andante con moto (Stabat Mater Dolorosa)
2. Quartet. Andante sostenuto (Quis est homo, qui non Fleret)
3. Coro. Andante con moto (Eia Mater, fons amoris)
4. only, Coro, Bajo. Largo (Fac ut cor meum ardeat)
5. Coro. Andante con moto, quasi Allegretto (Tui nati vulnerti)
6. Content only, Coro. Andante con moto (Fac me vere tecum flere)
7. Coro. Largo (Virgo virginum praeclara)
8. Duo. Larghetto (Fac ut portem Christi mortem)
9. Schools. Andante maestoso (Inflammatus et accensus)
10. Quartet, Choir. Andante Con Moto (Quando morietur corpus)

The version that I leave up to the unique approach of the Czech Republic Vaclav Smetacek teacher leads a unique, brilliant, marvelous and rich in nuances and a Czech Philharmonic soloists, renowned not so generally but exceptionally rich in musical expression, beauty of timbre and vocal ability. The exceptional Philharmonic Choir of Prague is absolutely wonderful, beautiful and moving.

The set of all give us a Stabat Mater simply wonderful, moving as few rich nuances, perfectly synchronized in form and in his soul with the depth of the words of the text. The music is a reflection of the feeling that comes from the words. The instruments chosen by Dvorak in each of the parties so prodigious nuanced phrases and are able to "speak" the same as them. Pain, grief, resignation, etc.. are faithfully reflected in the music of Dvorak. A deep music like few others, capable of reaching most closely guarded feelings. The mood swings are really well nuanced, a dramatic way through the instrumentation and not least through the game beautifully with choral groups, male and female and soloists. A work from the pain and suffering that goes end to the joy of the Resurrection and confidence in eternal life. A marvel of composition and a work of performance art. Simply master each and every one of the artists involved in its recreation.

is very beautiful and highly emotive music to follow the letter of the Stabat to perceive the wonderful harmony between them and accentuate the unique way of associating moods and feelings so disparate that appear throughout the work with a music perfectly suited to them.

I leave two points in parallel, the original Latin and a modern translation but I strongly recommend that you read the exceptionally rich and proud version of Lope de Vega (that's called soul and translate knowledge) to get his words capture the depth of the message.

Also I recommend reading this post of exceptional Ear friend Fine Blog:

http://oidofino.blogspot.com/2009/07/dvorak-stabat-mater-sinopoli.html

The CD is accompanied by another little jewel of music. The beautiful Serenade for Strings Dvorak. The interpretation is provided by the exceptional master on this occasion Kubelik leads the English Chamber Orchestra, offering a delicate approach of the book, beautiful in its global approach in its tempi, the wealth of sounds obtained in the range of the rings and the exceptional smoothness of the strings.

The Serenade was premiered in Prague in December 1876 also directed by Adolf Cech. A small work deep poetic evocation of wonderful melodic invention, incredibly evocative of intimacy, a work to enjoy and enjoy a true hymn to the sensitivity and musical and melodic beauty. Exceptionally beautiful, is one of those "songs" that put you in the heart forever and also you can not stop humming when you listen.

Dvorak Stabat Mater *

Serenade for Strings
Vaclav Smetacek *
Czech Philharmonic Orchestra *
Prague Philharmonic Choir (Director, Josef Veselka) *
Soloists: Woytowicz Stefania, soprano, Vera Soukupova, contralto, Ivo Zidek, tenor; Kim Borg, under *
Prague, 15 to December 20, 1961, Rudolfinum * Rafael Kubelik

Chamber Orchestra English
London, 28 to 30 May 1969

Mp3: http://www.megaupload.com/?d = BD0YYZJA

FLAC: http://www.megaupload.com/?d=4BHPCZEQ

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Can You Bring Womans Razor On A Plane

of Holy Week in Seville. Vjkoslav Sutekh. Real Orquesta Sinfónica de Sevilla. 1995.

Dear friends, is Good Friday. Starting point for the week Grande Seville, Holy Week, Holy Week.

Days fervor and passion naturally expressed on the street, days of joy, of tears of emotion contained, illusions longed to be met after a long wait, love of faith and a tradition of cultural value and immeasurable human. Quiet operation carried out over a long year before you see the light in those days. Entire neighborhoods and festive gala by the procession of the owners through the streets of Seville to display with deeply felt love.

simply wonderful few days in a city that is decked out to follow, to roam the streets in an orderly chaos in search of the best corner, corner, street or square to enjoy the view with the unique beauty of their steps and images, filled with the smell of the pungent aromas of incense and orange blossom; satisfy your musical craving to listen to the big bands of trumpets and drums in the footsteps of Christ and the great musical groups that accompany the Virgin Palios Sevilla, their queens. Days of fatigue despite what may Nick does not seem in the mood and even seems to drive forward and follow the street to not miss any detail of the carvings, gold, embroidery, flower baskets, the latest in cut, etc..

Captive Santa Genoveva

(Tiro Line, my neighborhood of birth)

And in it a unique and important value is the music . Traditional music and music in different ways more innovative, growing musical quality and enormous emotional depth. Played by kids with a fervor and enthusiasm is unparalleled essential part of the holidays. It is truly amazing the emotion that can produce the combination in a unique, often unexpected, the senses of sight, hearing and smell, capturing the profound essence of the beauty of the images, inspired the musical sound devotion and deep sensation of the odor these days in Seville.

is difficult to describe this Easter, very difficult. You must live in the street to know and love. If you do stay hooked forever. You learn to enjoy every detail, to walk its streets full of light and busy looking for the following fellowship, learn to enjoy all the nuances inherent in the party and you live with a people on the street, people nice and close, friendly, simple and open.

presioso

Let me make this record with the interpretation of some of the Easter marches most popular ever written. Authors young and old, future and past of musical composition Seville, famous figures who devoted much of his activity to do a little bit bigger "his party." Sevilla they should be grateful for this and their many other duties in favor of culture and tradition in Seville. Pantión, Lerate, Brana, Alber, etc. they are all distinguished figures of this city that have given much, much and expected little bit but not the love and gratitude of the people of Seville.

Enjoy this "different" interpretation of these beautiful compositions ever hand nicely weighted (how ungrateful we are in many cases) and valued teacher Sutekh (the soul of the orchestra founder and head of its value and quality, unfortunately died very young age) and the beauty of the GSN.

Enjoy and live a beautiful Easter in their faith and meaning and if not just enjoy it.

Processional Marches

Real Orquesta Sinfónica de Sevilla (ROSS)

Vjkoslav Sutej

Recording 1995. Mobile Unit High Frequency Studies of Seville

01 Nuestro Padre Jesús de las Penas

spends 02

Virgen Macarena

03

Easter procession in Sevilla

04 Corpus Christi 05

Mary's Holy Name

Virgen de la Paz 06

07 Virgen del Valle

Estrella Sublime 08

Esperanza de Triana 09

Crowned

10 The Madrugá

11 Virgen de las Aguas

12 Coronation of the Macarena

Mp3: http://www.megaupload.com/?d=N3MBKNW7

FLAC: http://www.megaupload.com/?d=YUJVO2IG (Amended, best quality).

How To Put A Cosco Car Seat Together

Dvorák. Violin Concerto. Concert Cello. Eugene Ormandy. Philadelphia Orchestra. Isaac Stern, violin Leonard Rose, cello. 1965. 1963.

tonight dear friends leave a CD dedicated to Michael. Sorry, dear friend, that is not as you have in your LP records, keep looking despite the Rococo Variations. For now we are left with the CD submitted, a true wonder about the quality of the work and that of the interpreters.

The beautiful, wonderful and incredible Dvořák Violin Concerto may not have reached the place in the repertoire that I think deserves its own qualities. It is of incredible beauty, a peerless musicality and finesse. The Violin Concerto was composed by Antonín Dvořák in 1879 and originally dedicated to Joachim. Fnalizaron had numerous changes to the version of 1882 and apparently the rift with Joachim. The concert was released on 14 octubre1883 by Frantissek Ondricek in Prague who also gave the premiere in Vienna and London. Today it remains an important work in the violin repertoire while less valued than their Concert for Cello and Piano and also had a lesser esteem than other parts dedicated to the same instrument. However it is a beautiful work in direct succession of the works of classical and romantic period with added traditional folk elements. A beautiful first movement, jumping, danceable, highly technical continuum refers to the second filled with gorgeous lyricism, solumne and sweet at the same time. The third movement of his Slavonic Dances mode is cool, happy, dancer, rhythmic and virtuosic at both the solo instrument and in the orchestra. In short, a work worthy of careful listening., With much musical value and a huge dose of musical beauty, sound and emotion.

In this CD we also have some truly exceptional performers. Isaac Stern is perhaps the best technique violinist who was among his contemporaries on par with the great Oistrakh. In many of his recordings, at least for my taste, is so technical that lost soul (which was always but often without giving out). In this interpretation, perhaps because of the exceptional leadership of Ormandy is achieved glimpse the soul music of the great Stern. Is superb, full of power, fine, an unsurpassed musicianship, manages to convey feeling, solemnity, tenderness, freshness, joy without leaving perfection in execution. Ormandy took the reins of a powerful Philadelphia Orchestra, wonderfully charming, perfect, blended, warm and sensational.

The second work presented is the proud and never sufficiently weighted Cello Concerto, perhaps the best page ever written for this instrument and the orchestra. The work has great references in the recording history, Szell-Fournier, Bernstein-Maisky, Celibidache, Du Pré, etc. but this approach a great Ormandy, accurate and unrestrained by the beauty and complicity of the American cellist Leonard Rose (a great musician trained at the Curtis Institute, cellist with the NBC, Cleveland and New York) is perceived as unique. Loudness shocking, rapport, rhythm, melody, a beautiful solo sound and sound fine sedated impressively orchestral perfect. The result is a wonderful interpretation, warm, emotional, soft, beautiful, rich, nuanced and colorful. A jewel, a gem.

I hope you enjoy this wonderful CD. It is a good example of how to make music of the past half century, musicians with heart and soul amen technique. Enjoy it Miguel.

Dvorák Violin Concerto and Cello * **

Ormandy, Stern, Rose

Philadelphia Orchestra

Recordings: March 22, 1965 * and 24 November 1963 **

Mp3: http://www. megaupload.com /? d = BBE5TGU1

FLAC: http://www.megaupload.com/?d=TH0NOT51

Cubefield The Final Level

Beethoven. Comprehensive Symphonies. Herbert von Karajan. Berlin Philharmonic Orchestra. First Edition Comprehensive DG. 1961. 1962.

Dear friends, we continue today with the rise of some exceptional CD. Correspond to the first integral to the DG recording of Beethoven symphonies performed by the teacher and his wonderful orchestra Karajan, the Berlin Philharmonic.

After an initial approach to EMI (exceptional and wonderful), Karajan made a second approach to his beloved Beethoven gotten by taking advantage of technical improvements in the years since the first until the beginning of the second integral and pursuing a vision to achieve set uniform single most contributing to the fact that the recordings were made in the course of a year, between December 1961 and November 1962, all with the same instrument orchestra, the Philharmonic Berlin with Karajan and all in top form, technical, human, professional and emotionally.

Karajan is very constant in the overview of their approaches and I think that gives a comprehensive symphony of Beethoven's most beautiful ever recorded, comparable in all respects to those of Szell, Furtwangler, Klemperer and Cluytens (among the most mentioned I know). I think comparing the two approaches of Karajan himself, manages the vitality of the EMI with the perfection of its last comprehensive DG (I must confess I still find a monument phono historic and exceptional). Joining the usual technical perfection of the master with an impressive performance from the Berlin Philharmonic and a freshness, spontaneity and vitality of a mature age Karajan and the young couple, offers a beautiful set of performances, just wonderful.

All the symphonies have a particular interpretation in which the characteristics of the works are presented in a unique and very characteristic of Karajan; Aunan freshness, energy, rhythm, vitality, and perfection in execution. The mastery and virtuosity of Berliners is spectacular, both overall and in soloists (wonderful strings and woodwinds, brass sound delicious and beautiful) and although being a point lower than that seen in digital recordings of the last integral, are extraordinarily beautiful, rich sound, with an amazing freshness. Karajan and the Berliners offer a dynamic rarely seen in a similar way in their joint work. A stunning perfection in the execution is accompanied by a colorful and beautiful timbre.

Karajan runs and runs in its usual form in Beethoven: precision, perfection, clean sound, fast tempos, sound richness, dynamism, perfect continuity in the development of works, etc. But it leaves us a bit more. Collecting a huge emotional beauty in their translations, there is a heart and passion. There is no mechanism or stiffness, work flow dynamically flexible, rich in expressiveness, wonderful in its sound, detailed and very nuanced. Note, as indicated, passion and emotion. There is energy, strength, joy, vitality, emotion, longing, feelings and states of vitality and strong emotion. The communion between teacher and orchestra is excepcionaly reflects the deep respect and admiration for each of those years its initial joint venture (with the passing years these relations were to deteriorate slowly in part by the closure of the orchestra and Karajan himself and partly by the wear and tear of the years in addition to economic issues and personal).

I leave this landmark album that I truly deserve to be had among the largest. Each and every one of the symphonies have their charm and their "hidden wonder." In all is the spark and the genius of Beethoven and I believe wholeheartedly that they will enjoy and be surprised by these interpretations of one of the largest pairs of music history. Enjoy it and palate.

Beethoven Symphony

Integral

Herbert von Karajan

Berlin Philharmonic Orchestra.

First Edition DG

Berlin, Jesus-Christus-Kirche.

Sinf. 1: 12, 1961. Sinf. 3: 11 of 1962

Sinf. 2: 12, 1, 1961 and 1962. Sinf. 4: 11 of 1962

Sinf. 5: 3 of 1962. Sinf. 6: 2, 1962

Sinf. 7: 3 of 1962. Sinf. 8: 1, 1962

Sinf. 9: 10 and 11, 1962. Gundula Janowitz, soprano, Hilde Rossel-Majdan, high, Waldemar Kmentt, tenor, Walter Berry, baritone. Wiener Singverein, Reinhold Schmid, director.

Mp3:

No. 1 and No. 3: http://www.megaupload.com/?d = DO9DTEX9

No. 2 and No. 4: http://www.megaupload.com/?d=0QBWNPME

No. 5 and No. 6: http://www.megaupload.com/?d=HS5WQHNN

No. 7 y 8: http://www.megaupload.com/?d=A0V6M3Z6

No. 9: http: / / www.megaupload.com/?d=LFY70TPK

FLAC:

No. 1 and No. 3: http://www.megaupload.com/?d=2LI3020Y

No. 2 and 4: http://www.megaupload.com/?d=YPG5XFZB

No. 5 y 6: http://www.megaupload.com/?d=3YWXEKA0

No. 7 y 8: http://www.megaupload.com/?d=VW350088

No. 9: http://www.megaupload.com/?d=5AEN1YBV

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Bruckner. Symphony No. 8. Carl Schuricht. NDR Symphony Orchestra Hamburg. 1955. Grandes Marches

Dear friends, now let a small sample of great director, frankly little attention in this blog, a musical quality, technical and human arrogance. A director of form and temperament very similar to another major, Knappertsbusch, musically rich, with ample freedoms granted to the music performed with a sensational achievement and emotional sound. On this occasion we left a beautiful approach to Bruckner's Eighth Symphony directing an orchestra of prestige and hearth in the master's work Bruckner, NDR Sinfonieorchester.

Approximation by Schuricht and musicians of the NDR is far from any point in the search for technical perfection expressed (not that this is not an exceptional performance on the technical and interpretative that in fact it is like all Schuricht recordings that had among its features the detailed planning of each project) is an approximation of the heart, directly to musical and emotional senses, free, dynamic at the highest level of fantasy, search for hidden emotions in the score, its intrinsic beauty. The first two movements of the work has its fair approximation by Schuricht, dynamic, clearly stated, rhythmic, deep and playful. His interpretation of the Adagio is stunningly beautiful, masterfully conducted stinging feeling in the heart as you assimilate, for your listening, the great beauty that contains and transmitted. The implementation of the final movement is a perfect example of energy, emotion, technique, clear expository development, impulse, one of the most beautiful I've ever heard alongside those of Jochum.

NDR Orchestra of Hamburg, a major German orchestras founded at the end of World War II in Hamburg, responds faithfully to the needs raised by Schuricht and their way of seeking beauty of the work. Orchestra is a tradition in the interpretation of the great German repertoire and Bruckner have one of their most popular composers. Their precious metals and ropes are the solo musical parts sound really nice. However, what attracts me to acting is the result of a whole, the great communion between all members of the orchestra and the director, the perfect form of the transition and as sensational as to bring continuity Music, an amazing dynamic, dynamism sensational, overwhelming energy. In short, sensational. The recording is a live footage taken on 23 and 24 October 1955 auqneue on this CD and other issues and put a date stamp in 1960, a date that is not well proven in various discographies consulted.

I hope you enjoy this interpretation of the magnificent Symphony No. 8 in Bruckner. I think it's worth. Serve as a small homenje one of the great directors of the twentieth century, admired even by the very Celibidache, and kept their energy and vitality to the end of his days.

Bruckner

Symphony No. 8

Carl Schuricht

Symphony Orchestra NDR Hamburg

Record of 23 and 24 October 1955

1887 Original version Ed Leopold Nowak in 1972

Mp3: http://www.4shared.com / file/G_-nkO56/Bruckner_-_Sinf_n_8_-_Schurich.html

FLAC: http://www.megaupload.com/?d=0OKGV2MP

Digital Cameras And Biology Labs

. Herbert von Karajan. Berlin Philharmonic Orchestra. 1967. 1969. 1971. 1974. 1981.

Dear friends, tonight we leave for its savoring a wonderful double CD from DG to a superb collection of central European composers marching bands, great transmitters of the soul of the area, geographic soul, humanistic, cultural and emotional. The performers of these songs is nothing more and nothing less than the great master Karajan with the wind players of the Berlin Philharmonic and the Philharmonic itself complete in some works. And I tell you the emotional and sonic festival is served.

is a wonderful album and the pair a great envy for other peoples such as mine. I recently had the good fortune to watch the broadcast of a concert with Dudamel and Berlin and is a pleasure to see the audience singing these marches, feeling its historical significance and emotional patriotic alliance as a ring between them. How difficult it is to see this today in my country, what a shame and what a pity! We usually have a damn and it looks like custom genetic spoil our historical being in contempt and treat it as something minor. These things do not happen in countries who love their history and culture. But that's another debate and I hope that new generations, higher education and culture, our heritage is raised to where it belongs and is valued for its quality and its social and historical significance.

De Karajan may say all, human, political, in his dictatorial behavior, etc. but it is fair to recognize his enormous musical value, its fantastic managerial category, their perfect technique, his obsession with the perfect sound and his love for the industry phonograph with which always maintained a direct and strong relationship with the aim of improving their product to an art thing to thank him perhaps more than any other director. Could make mistakes in the difficult initial times (and the rest of his career), but all committed, whether they chose a side as the other and are not or should not be judges without trial of sufficient evidence and personal stories for evaluate what happened in those infamous pre-war and war times. Karajan was ambitious, very ambitious and did not hesitate to use the means at its disposal to advance, the final analysis we all equal under circumstances that excess.

obvious in this case any such nuance and focus on a double CD exceptionally beautiful, impressively executed by uns proud and unique musicians, happy music, martial rhythm and lively, reflecting the traditions of Central Europe with parts many authors in these musical forms and with the addition of the contributions of Beethoven, Strauss and Tchaikovsky.

The most perfect sound quality and playing an instrument makes listening to these discs musical pleasure and superb sound, no words are needed and also I have none to describe it. Just sit down, get comfortable, relax and swept away by the beautiful sound of the Berlin assembly and precise steering, agile, rhythmic, nothing boring Karajan inspired and offering a 100% of their capacities.

Enjoy it, and Berliners thank you very much, thank you very much maestro Karajan.

will not feel disappointed, indeed I think they will feel extremely happy and full of joy and deep emotion. Simply beautiful music.

Marches

Karajan

Winds Orchestra Berlin Philharmonic, Berlin Philharmonic Orchestra

Several authors, years 1967, 1969, 1971, 1974, 1981.

Full Back

Disc 1

Disc 2

Mp3, Disc 1: http://www.megaupload.com/?d=M8W5AVXJ

Mp3, disco 2: http://www.megaupload.com/?d=7GDY6CSQ

FLAC Disc 1: http://www.megaupload.com/?d=ZKV7R4FA

FLAC, Disc 2 : http://www.megaupload.com/?d=VML2OS57