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A new review from the August 2013 edition of Gramophone Magazine of the Orchestra of the Swan recording of Gal's 2nd Symphony and Schumann's D minor Symphony.
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A review from critic Michael Jameson in the July/August 2013 issue of International Record Review.
"It is, I dare to assert, the most important Adagio since Bruckner:": such was the verdict of musicologist and biographer Wilhelm Waldstein on the slow movement of Hans Gál's Symphony no. 2 in F, Op. 52, forged during one of the darkest periods of the Second World Ward, and of its composer's troubled life. Upon hearing the complete work today, one appreciates that its remaining three movements are of similar quality and interest, and this deeply personal and touching symphony can now be evaluated in the second new account to be released within the space of three years on the Avie label.
The world premiere recording of the work (paired with Schubert's "Great" C major Symphony) by the Northern Sinfonia under Thomas Zehetmair was made at the orchestra's home base, Hall One, at the Age, Gateshead in September 2010. It is now joined by this newcomer from the Stratford-upon-Avon-based Orchestra of the Swan conducted by Kenneth Woods, where the coupling is Schumann's Symphony no. 4.
Though Zehetmair and the Northern Sinfonia play the work skilfully enough, there is about Woods's traversal a ringing personal conviction about the merits of this score which lends a defining urgency and authority to his performance. Densely scored, yet pervaded by a conservatism strongly rooted in the pre-Second Viennese sound-worlds of Brahms and Bruckner (and shot through at times with an English pastoral quality suggestive of Vaughan Williams), this music is never difficult to enjoy.
As the composer's own programme note states, the emotional axis of the symphony its Adagio, placed third and lasting over 15 minutes. "It acts," wrote Gál, "as a "drama of the world" (Weltspiel) between the two parts of a mediation which is turned completely inwards. The actual conflict and its working out is left to the last movement, which, starting out from a passacaglia-like episode, develops into an extended sonata form and, in an ever more calming coda, spins itself again in to the withdrawn mood of the introduction, turned away from the world.." The other-worldliness of the music, however, is anything but Mahlerian in character, eschewing self-regarding angst, and it is the final two movements of the work which produce an undeniably eloquent effect.
Under Woods, the Orchestra of the Swan plays with magnetic conviction and unwavering technical assurance. There's an ardour and resolve here which leaves the listener in no doubt that these musicians and their conductor believe in the worth of every bar of this music and it would be hard not to remain gripped throughout this traversal. Plangent string textures and solo wind contributions of character and distinction show just how far the Orchestra of the Swan has progressed during the relatively short period of its existence and it plays with more involvement, commitment and individuality than some of its better known rivals. That includes the Northern Sinfonia under Zehetmair, whose more dutiful approach suggests that neither conductor nor players have much faith in the music. Beside the sharp-edged and ever-insightful conducting of Woods, who brings Gál's music fully to life with unfailing vividness and lucidity, Avie's premiere recording doesn't quite live up to expectations.
"If the Third Symphony represents Schumann's closest approach to symphonic monumentality," observed Gál (how many of us gained wider appreciation of Schumann's orchestral music through the medium of Gál's excellent little book in the sadly long-forgotten BBC Music Guides series? I still have it on my bookshelves, along with Gál's The Golden Age of Vienna and Franz Schubert and the Essence of Melody), "the Fourth Symphony is his most ingenious experiment in form." Certainly in the capable hands of Woods and his Stratford team, Schumann's D minor Symphony makes a stimulating foil to the Gál work. While this account, freshly minted and invigorating as it is, doesn't displace the likes of Karajan's version from his famous 1972 cycle (DG) or Szell's classic Cleveland Orchestra recording (Sony), there is still plenty to admire and enjoy here.
With a warm and natural recording (Avie's engineering in Gateshead tended towards upper-register shrillness) from Stratford-upon-Avon's Civic Hall, and informative and persuasive notes by Woods himself, this adventurous release can be unreservedly recommended.
— Michael Jameson
Subject: Request for tempo
Dear Maestro Woods
Thank you for your upbeat.
It has been brought to our attention that the tempo of your upbeat is significantly faster than previous performances of this work given by the Philharmonia Metropolitania. Requests for tempo outside the standard deviation of plus or minus 6 beats-per-minute from past approved tempi must be submitted for review by the tempo request committee.
We are concerned that perhaps this quicker tempo was suggested in error. Could you please confirm your intentions by rebounding sharply to the second beat of the first bar? Your request for tempo has been passed along to the tempo committee for prompt consideration. Meanwhile, you may notice a slight delay in the placement of the downbeat of the first bar.
Warm regards
Philharmona Metropolitania
Cc All our friends on Facebook
Subject: Re: Request for tempo
Dear Maestro
Thank you for the prompt confirmation of your request for tempo. Your tempo remains under review, as it is sixteen beats per minute faster than our recording of the work under maestro Dieter von Schlepp, which won a Gramophone award in 1978.
Thank you for conducting the Philharmonia Metropolitania
Subject: Re: Re: Request for tempo
We are sorry to inform you that your request for tempo has been respectfully declined. The correct speed for this movement is half-note=144.
In order to make clear the correct tempo, we have taken the prophylactic measure of accenting every beat.
Thank you for your request for tempo. We are sorry we cannot provide you with your requested speed, but the tempo request committee must consider the artistic reputation of the orchestra, the speed at which we can play the piece without having to practice our parts and the tiring effects of playing at excessive speed.
Subject: Re: Re: Re: Request for tempo
We have noted the resubmission of your request for tempo. The members of the committee feel that as a matter of professional courtesy we ought to inform you that the Philharmonia Metropolitania generally do not ever start a work over again after only four bars. Additionally, please be assured that there is no reason for you make a verbal plea such as the one you just made ("can we just try that once more a little faster?"). Please be assured that the Philharmonia Metropolitania process over six thousand requests for tempo every season, and we feel the members of the committee are eminently well-qualified to vet those requests accurately and appropriately for the benefit of the audience and the comfort of our players.
Since this is your first concert with us, we have, as a courtesy, accepted your re-submission as a formal "appeal of tempo." Tempo appeals are usually considered only at second rehearsals and only when presented alongside compelling evidence that a peer-group orchestra has previously accepted the requested tempo under the leadership of an established maestro. In any case, we have decided to postpone consideration of your appeal until we have played the entire movement through so that you can hear what the work sounds like at the correct tempo. Again, so that you are able to clearly hear the correct tempo, we will continue to accent every beat.
Thank you again for your upbeat
Subject: Re: Re: Re: Re: Re: Request for tempo
Thank you for allowing our run through of this movement to proceed at the correct tempo thus far. We are hopeful that you can now see the reasoning behind the committee's decision.
As a matter of urgency, we feel we must point out to you that the soloist, Mr Morty Purina, has begun his unaccompanied statement of the Rondo theme at half-note=160. We are aware that you met with him earlier today and are very concerned that perhaps you have asked him to play too fast, and that perhaps he was not listening attentively while we played the theme at the correct tempo.
Would you be so kind as to catch his eye and make an attempt to communicate to him that he is playing in an inappropriate tempo?
With warm gratitude
Tempo management committee
Subject: Re: Re: Re: Re: Re: Re: Re: Request for tempo
We were deeply disappointed to receive your most recent upbeat at the end of the soloist's 16 bar solo statement of the Rondo theme, which you have once again given in your original tempo of half-note=160. We recognize this tempo was probably requested in error rather than malice, and we understand bad habits can be hard to break, especially among conductors of limited expertise.
Some members of the orchestra have suggested that perhaps you are not aware that we did correctly receive read your original request for tempo. To clarify to you that we are aware of the speed you wish to conduct the work, a minority of string players are now playing at half-note= 176. We hope this will give you a sense of how bad music sounds when played 16 beats-per-minute too fast.
Meanwhile, the accenting of beats will be strengthened by %20 so that you can more clearly hear the correct tempo.
Subject: Re: Re: Re: Re: Re: Re: Re: Re: Request for tempo
Mr Woods
Thank you for your cutoff. We do feel we should point out to you that it is extremely rare for the Philharmonia Metropolitania to stop even once, let alone twice, in a play-through of a standard repertoire work.
It was interesting if slightly concerning to learn from the soloist that your initial tempo of half-note=160 was requested originally by him, Mr Purina, based on information in a personal letter from the composer requesting a speed of half-note=160 as heard on the composer's own recording of the work. It is possible that Mr Purina has not worked extensively with orchestras of the stature of the Philharmonia Metropolitania- we would ask that your remind him that mentioning a direct personal connection or correspondence with the composer constitutes a violation of the "no name-dropping" policy outlined in paragraph 34231 of the CBA. Also, while these points may be of interest in an abstract, theoretical sense, they are of primarily musicological and scholarly interest, and not really relevant to the rehearsal process. They are rightly the territory of academia, where we feel Mr Purina is probably more at home.
The committee feel it is important to point out to both you and Mr Purina that the composer of this work, being a pianist, could not have anticipated the technical challenges of playing this material on a violin or wind instrument. To accurately render the orchestral passagework at this speed, over 68% of the orchestra will have to practice their parts more than five minutes, and many will find playing at this speed tiring.
Nonetheless, in the interests of completing the rehearsal without further delay, we have decided to proceed with the requested tempo in spite of our grave concerns about its appropriateness. We would respectfully like to direct your attention and that of Mr Purina to our Gramphone Award-winning recording of this work with maestro Dieter von Schlepp. We hope that you and Mr Purina can appreciate how exhausting it is to continue to accent every beat at this extreme speed.
Subject: Re: Re: Re: Re: Re: Re: Re: Re: Re: Request for tempo
Thank you for proceeding to the end of the movement without further interruption.
The current orchestral service now has 40 minutes remaining. The members of the player welfare committee wish to point out to you and Mr Purina that this tempo is more tiring than the standard tempo of half-note=144. Also, according to standard rehearsal procedure, tempo deviation requests that are granted are generally rewarded with a two-to-one minute-to-bpm ratio of reduced rehearsal duration. With that in mind, in order to remain eligible for re-engagement, we strongly suggest that you release the orchestra at least 32 minutes early in exchange for the 16 beat-per-minute increase in tempo. Rather than interrupt your remaining rehearsal time to notify you verbally of this expectation, selected members of the orchestra will now begin looking longingly at the clock.
Morning, Ken. Half-note=160. Got it
Subject: PS
Good pianist!
Subject: PPS
Can't believe we finished 90 minutes early. Thanks for being so efficient, Ken.
A somewhat belated notification of a lovely review from last July of Bobby and Hans vol 2, which was a featured new release at WCLV at the time . Read the original here.
Hans Gál Symphony No. 4 & Robert Schumann Symphony No. 2— Orchestra of the Swan/Kenneth Woods (Avie 2231)
Take music firmly rooted in the German-Austrian tradition, refine it until its lightness of texture seems almost French, infuse the whole with an uneasy mix of tranquility and sorrow that recalls the best music of Chopin, and maybe, just maybe, you'll come up with the Fourth Symphony of Hans Gál. This is music of incredible richness, and Kenneth Woods and the Orchestra of the Swan successfully elicit both its charm and its sense of melancholy. It's paired with a consistently engaging account of Schumann's Second Symphony. -Jerome Crossley
Featured Mon 7/9, Wed 7/18, Fri 7/27
A review from Stephen Pedersen of the opening concert of the 2013 Scotia Festival, featuring Ensemble Epomeo. Read the original here.
Monday night, in the Sir James Dunn Theatre, the Scotia Festival of Music launched its 34th annual rite of spring chamber music concert series with the help of Bach, Alfred Schnittke and Franz Schubert.
Violinist Philippe Djokic took the stage alone to recreate the incredible world of Johann Sebastian Bach's solo violin marathon, the Chaconne in D minor from the 2nd Violin Partita.
It was a solid and a thorough performance, articulated throughout with the kinds of musical weights and measures — drawn out phrases, defining articulations — that bring a vivid sense of musical presence to one of the richest scores in the violin repertoire, and take years to develop.
Djokic has lived long with this work, nourished his understanding of it in both his practice and teaching studio. He now plays it with the kind of easy creative absorption that has long gone beyond the need for conscious thought.
Now, it is more a question of gathering its elements gently in and pacing his way through it so that it both speaks and sings with elegant eloquence as it shapes itself in both his mind and ours.
Quietly, thoroughly, Djokic's Bach music unfolded like a flower, opening itself to our imaginations.
After this calm and light-filled opening, the Ensemble Epomeo — Caroline Chin, violin, David Yang, viola, and Kenneth Woods, cello — gave us a completely different, more angst-ridden kind of eloquence in their performance of Schnittke's Trio for Violin,Viola and Cello.
At one time, Schnittke's score would have been slighted as "eclectic" for his use of allusions to other composers' styles. But critics, after a decade or two of aesthetic collage in all the arts, found a more positive, and more useful term in calling it "polytonalism," and let it go at that.
Schnittke's uses these references like a musical James Joyce, fitting them in with sometimes shocking effect, only to calm us down in a measure or two as the logic of their creative energy reveals itself to us.
Violent attacks and harshly, dissonant harmonies provided clues of the musical imagery of mid-20th-century European anguish, as populations coped with boom and bust amid the ideological struggle between Russia and the West. Hints of all this percolated through the sudden shifts of Schnittke's music from outrage to childlike sentimentality.
Throughout, the excellent Ensemble Epomeo three instruments merged into a rare kind of musical experience. Spacious and uncannily unified, it was wholly successful in towing the audience along as though they were floating in a huge balloon of music and harmony.
You can't really write about such experiences. But as an audience you know that for a moment or two, for a measure, for a note of harmony, for a tone colour, you were vividly held together in the same aesthetic space.
After the intermission, three Scotia Festival veterans, pianist John Novacek, violinist Mark Fewer and cellist Denise Djokic, took on Schubert's Trio in E-flat major, D. 929 in a lively performance.
Each of its four movements, but especially the first and the fourth, acutely expressed Schubert's rhythmic energy, led by Novacek at the grand piano, making it live up to its name.
The delicacy of the repeated note, mandolin-like triplets in the treble of the piano, executed by Novacek with breath-holding evenness and crispness of touch in the fourth movement, contrasted with the warm lyricism of the cello lines, especially in the second movement.
When played as this trio played, Schubert's sweetness and his intuitive gift for simple but enchanting melodies made for a happy, chatty audience as it exited the theatre.
When I was young and discovered a new piece of music that really blew me away, the urge to tell a friend about it was sometimes overpowering.
It wasn't a feeling unique to classical music, and in my formative years, these moments came with thrilling regularity. Of course they did- I had so much to discover as I began my teens. I bought my first Jimi Hendrix record at 12, and was still unearthing bootlegs and live discs when I was 22. In my high school years, I heard all the Mahler and Shostakovich symphonies for the first time, discovered Miles Davis, Led Zeppelin and most of the cello repertoire.
(Composers James Marshal Hendrix and Philip Sawyers. This blog post is probably the first time these two musical giants have been linked. Read on to find why they should be.)
One quickly learned who to call for what kind of music. When a new (for me) Hendrix recording came my way, it was usually my friend Doug who came to mind. "Dude- you've got to come over this afternoon and check this out- I just got Axis- Bold as Love, and it's even better than Are You Experienced." He returned the favor later that week with Electric Ladyland. We were both cellists, but soon gravitated towards electric guitar (me) and bass (him) and within weeks, those listening sessions spilled over into jam sessions, and then my first rock band, as we found new friends to share our discoveries with. Before long, the new guys were calling me up with their own "dude, you've got to hear this " moments. These encounters still seem to play out every day on Facebook and Twitter, but I have to say, I loved the ritual of getting together in person with a friend (or friends), putting an LP on the turntable, dropping the needle on that black vinyl, then handing your friend the album cover so they could check it out while listening for the first time (usually sitting on the floor-always carpeted in 1980′s Wisconsin).
People often speak of a level of cynicism or even bitterness among professional musicians. To be honest, I see very little evidence of this among the people I work with, whether as a conductor or cellist. I think this is all the more remarkable given the fact that we work in a highly-competitive field where we all have to detail with seemingly ever-increasing pressure and financial insecurity.
However, what hints of jadedness or disillusionment one might detect within an orchestra probably have at their roots a disappointment at the gradual disappearance of those "dude, you've got to come hear this" moments. They never go away completely, but they become rarer by the year. I think some version of that feeling at the joy of discovering music, and the recognition that you have a passion to participate in creating and recreating it, was key to most of my colleagues' decision to spend their lives practicing, rehearsing, composing, teaching and travelling. If those moments stop, we have to question why we're still in music.
Sadly, later life can never replicate the astounding bounty of our years of discovery. When someone tells me they've never heard Mahler 6 or A Love Supreme, I can only smile with envy. How lucky they are- to have that discovery awaiting them. I always tell them, "well dude, you've got to hear it."
But although it's been many years since I finished that first gluttonous inhalation of Bruckner, Mahler, Shostakovich and Hendrix, there are still endless wonders to discover in each of those works I've come to love. Coming back the Shostakovich Cello Concerto two weeks ago at the Scotia Festival with soloist Denise Djokic was a case in point- familiarity need not breed contempt. Of all the works I performed at Scotia (and well over half the works I played and conducted were completely new to me), it was the one I have the longest and most intense personal connection with as a listener, cellist, conductor and general lifelong Shostakovich nut, yet I found so many new and fascinating details in the score during my own study and the rehearsal process. Even in the concert, there were a couple of "dude, you've got to hear this" moments- things that I suddenly discovered on the page and tired to make happen with my eyes or mental powers as best I could.
My professional path has had its ups and downs, and I can say with a clear conscience that nothing good has come easy or fallen into my lap- I can't but help think others have had some more obvious "good luck" in finding their place in the profession. However, I consider myself incredibly lucky that I keep seeming to have these "dude, you've got to hear this" moments. Discovering Hans Gál's music is an obvious example- how had such a wonderful, communicative, complex and engaging voice been forgotten for so long? How did some nobody from Wisconsin get to make the first recording of his orchestral music? Crazy.
But Gál has not been an entirely unique case. A few years ago, I learned that my friend and colleague at Kent County Youth Orchestra, second violin coach, Philip Sawyers, was also a composer. He told me with the kind of tact you would usually use to warn your seatmate on a airplane that you often get violently airsick- "Ken, I'm terribly sorry to have to tell you this, but I'm afraid I'm a composer…."
Then I heard his music and looked at the scores, and it was another one of those moments. I even had a literal "Suzanne (I try to avoid calling her "dude"), you've got to come hear this" moment when I played the live recording of his First Symphony the first time. She came upstairs and our conversation went: "This piece is by Philip" "The one from KCYO?" "Yes!" "Get out of here! Really? Wow!"
Since then, I've performed several of his pieces, and to my great, great, joy, Phil entrusted me with a recording of three of his works for Nimbus- his Second Symphony (review of the premiere by the London Mozart Players here), his incredible new Cello Concerto and his Concertante for Violin, Piano and Strings. After years of discussion and planning, we finally made the record on May 13th and 14th in Stratford with my friends in the Orchestra of the Swan.
Orchestras tend to be sober environments (well, perhaps not literally)- I imagine one does not say "dude, you've got to hear this" at a Berlin Philharmonic rehearsal (but I could be wrong). We tend to keep our passions and discoveries to ourselves because we've all made the mistake of sharing something with someone who totally turned their nose up at it. There's nothing (I mean nothing) more soul destroying than coming offstage after a totally transcendent concert and saying to your standparter "dude, wasn't that amazing" and having them reply "Really? I thought it was torture from beginning to end." You learn to keep your most important feelings about music to yourself. (And much more- I've never,e ever written anything derogatory or even slightly critical about an orchestral colleague here, but I also often hesitate to praise too directly- one can't help but fear that the time you write "Bubba played amazingly well tonight," Bubba is down the pub telling everyone how badly you conducted) Nevertheless, I can't think of a better band for "dude, you've got tot hear this" repertoire than Swan. Maybe it's just because almost everything I've done with them is a bit wacko- Gál, chamber Mahler, Saxton and even a Shakuhachi concerto. I expect it's more than that- I think it comes from the artistry and commitment of the individual members of the orchestra who somehow have found themselves- an orchestra of friends and chamber music colleagues. The name, the brand, the institution- none of these matter when bringing unknown music to life. It's about having Dave, and Victoria and Nick and Mark and Chris and Sally and Anna and Liza and Shelly and Adrian all the rest of the gang there, listening and playing with expertise, skill, open ears and open minds.
It was a remarkable two days. Cellist Maja Bogdanovic, who played the Cello Concerto (it was written for her at the behest of the Sydenham Festival) is a significant talent and she played like an angel. I know my cello concertos- this is a very important addition to the repertoire. The Steinberg Duo brought tremendous commitment and a huge depth of experience with Phil's music to bear on the Concertante- they've just recorded his two Violin Sonatas. And take after take, the orchestra showed incredible endurance and focus. I'll never forget the contribution of one of the string principals- let's call him Mr A. Mr A broke his right hand before the first session. He went straight to the hospital who told them they couldn't set the broken bone until the swelling went down. They splinted the hand, gave him some pain medication and anti-inflamatories and he came straight to the recording session, his hand still bleeding from the accident. He played great, missed nothing- all day, three sessions. The next morning, they set the bone, and by afternoon, he was back in his chair, playing full out. If a student or an amateur wonders what kind of dedication it takes to be a great professional player, that's a pretty inspiring example.
And what can I say about the Second Symphony? It's compact (just over 20 minutes for a Beethoven-sized orchestra) but incredibly intense and inspired. The contrapuntal writing is staggering, but it's all coherent and engaging (if you shape it and let it breathe). By the dress rehearsal/final recording session, the orchestra's performance of it was becoming something to behold. At the end of that session, Phil himself said with surprised bemusement "it seems to have a sort of crazed Mahlerian grandeur to it."
I'm so glad we were able to cap those two days of recording with a performance of at least the Second Symphony. This is when being in an orchestra really can mean something- when you're no longer just calling up Doug or Jon and saying "dude, you've got to hear this live Coltrane disc" but reaching out to a whole concert hall full of new listeners and trying to let them discover that feeling for themselves. The orchestra, after two huge days of recording, played with astonishing power and involvement. There's a great bit near the end of what functions like the slow movement (the piece is in a single movement but like lots of the great one-movement symphonies, still hints at the traditional four-movement structure) which I particularly remember. Phil pulls off one of those great compositional party tricks of building to a huge, sustained climax and then finding a way to keep going beyond it. Quite a way beyond it. Everyone is already playing fortissimo, and suddenly the page cries out "get louder." You've given everything already, and the music cries out for more- not just more, but more "more."
In the concert, I tried to do whatever a conductor does in these situations to find that "more" factor- perhaps you sweat and grunt a bit more, or you reach for the magic move. Maybe you open your eyes even wider. Often (always?), it's about actually quieting yourself physically and emotionally, and showing something totally unforced, totally unsweaty. Sadly, most times you reach for the "more" in such a moment (which you only dare try when you feel the entire fate of the world depends on finding it) in concert, it's just not there. Either the players don't have more "more" to give, or don't feel the internal motivation to find it. I can count the satisfying "more" moments of my conducting career on ten fingers. That was a big one- as big a wave of "more" as I've ever gotten in a concert. Who would have guessed a chamber orchestra of less than forty players could find that much "more," broken hands, 15 hours of recording in 36 hours and all?
The five or so weeks since that concert have flown by faster than a bullet train in a flurry of projects, and suddenly, today I found out that we might have a first edit of the CD from Simon Fox, our producer, as soon as next week. Part of me is giddy with excitement- one makes a record because it is the record one wants to listen to. I'm sure this will be a good record- great music, fine musicians and a producer I trust to keep me from f*cking it all u.. I want to listen to it!
But can even the best record equal a moment like that in the concert? Experience tells me, probably not- even if that's the take that ends up in the edit (our CDs together are not usually officially "live," but we always record and often incorporate the concerts- the Scherzo of our Schumann 2 is essentially the concert performance without edits). There's so much more to these moments than ones and zeros can possibly capture. The CD is probably bound to be a high-quality gentle let down. Hopefully one I'll quickly get over as I get excited about all the new listeners who are going to discover this music through it.
In the end, it may be that we set out to create a "dude, you've got to hear this" record and ended up accidentally creating something rarer and more precious.
A "dude, you had to be there" moment.
A review from Rob Cowan for the Gramola release "Lost Generation" from the July, 2013 issue
A review of the Scotia Winds performance of Berg's Kammerkonzert with soloists Robert Uchida and Simon Docking and Mozart's Gran Partita. Read the original here.
Wind ensemble music appears to have fallen off the radar of music composers these days, though it continues to nourish the education of young musicians in our public high schools.
But the clarinet is never far from the Scotia Festival of Music programs, since Chris Wilcox, the festival's artistic director, is a clarinetist, and Robert Marcellus, who co-founded the festival with him in 1980, was principal clarinet in the Cleveland Orchestra under legendary conductor George Szell.
Tuesday night in the Dunn, the festival assembled a baker's dozen of fine, mostly local, wind and brass players to balance all the string and piano programming with Alban Berg's Chamber Concerto for Piano and Violin with 13 Winds, followed in the second half by the extraordinarily inventive sonorities of Mozart's Serenade in B flat major, also for 13 winds.
The characteristic sound of a symphonic wind ensemble in the Mozart configuration is gritty because of the five double reeds (two oboes, three bassoons), but also mellow because of the clarinets and basset horns (two of each), and heroic too, because of the French horns (four).
Berg's wind band included trumpet and trombone, as well as two flutes and the two solo instruments (piano and violin).
That's a lot of variety, a grab bag of sonorities to tickle eardrums more used to the smoothly blended ensemble sound of strings than the grit and shriek and moan of winds, which are only partially mellowed if flutes are included.
Pianist Simon Docking and violinist Robert Uchida played the solo parts in the Berg to add another layer of shimmer to the Milky Way brilliance of the sound produced by the musical stars assembled on the Dunn stage.
The music and playing, conducted by Kenneth Woods, the cellist with festival guest stars, Ensemble Epomeo, were strikingly fine.
Woods played it straight, simply delivering rather than interpreting the scores, trusting the composers to have gotten things right, and anyone within hearing distance of the performance would confirm that they had.
An incredible day of music making yesterday with my wonderful colleagues in the Orchestra of the Swan.
In many places and with many fine orchestras, doing such a profound, difficult and ambitious program on such a tight rehearsal schedule would have been simply impossible, but everyone yesterday was so well-prepared, flexible and responsive that we were able to go a long, long way towards getting to the heart of 3 really incredible pieces in very little time. Takemitsu's "Death and Resurrection" was completely new to me- like all his music, it's very touching, very beautiful and full of longing and thoughtful nostalgia. Britten's Les Illuminations is one of his finest scores- the inspiration just leaps of the page, and April Frederick sang it with consummate skill.
And what can one say about Shostakovich 14? Forbidding, overpowering, heartbreaking, hilarious, grotesque, beautiful, wretched, terrifying, humbling and haunting. I came away more convinced than ever that it is one of the most important statements on the human condition in any medium to come out of the 20th century. I've waited 30 years to conduct it since I first heard it as a kid- let's hope the wait for the second performance is more logically measurable in months.
Bravo and thanks to April, OOTS and Arwel Huw Morgan, our bass soloist.
I know the blog has been quiet of late. I've been holding on for dear life since the beginning of May- it's been the most interesting, challenging and frenetic 6 weeks of my career to date. The summer ahead is calmer, and I hope to find time to share some more detailed thoughts about all the amazing repertoire and incredible colleagues I've encountered these last few weeks.
A review of Ensemble Epomeo's recital on the 27th of May from Chronicle Herald chief critic, Stephen Pedersen. Read the original here.
Ensemble Epomeo — Caroline Chin, violin, David Yang, viola and Kenneth Woods, cello — is a first-rate trio making its mark on Halifax this Scotia Festival season. (BENJAMIN EALOVEGA)
Ensemble Epomeo, the remarkable string trio working the Scotia Festival this season, showed us their interesting, but largely unknown, repertoire, at the Dunn Tuesday night.
They played works by 20th century composers Gyorgy Kurtag, Krzysztof Penderecki, Hans Krasa, followed with a bright, energetic performance of Beethoven's Trio for Violin, Viola and Cello, op. 3.
It really was only then that we got back to familiar turf.
They topped off the program with Richard Strauss's variations on a Bavarian folk song. Talk about your musical whipped cream. It was a delicious set of variations in 18th-century style, Strauss stepping back from his own time to savour more traditional delights of musical form
The German title is roughly translated as The Girl is Mad at Me.
"Mad" unfortunately is too ambiguous a word to choose among the possible meanings of "angry" and "crazy in love." Maybe its very ambiguity is the point of the title. Emotions are such sticky things to define once caught up in them.
You always feel you are in good hands with Epomeo, even when trampling through the murky moods of mid-20th century angst. In Europe, at least, that was a dark time, full of dictators, pogroms and organized hatred, a perfect exemplum of what George Orwell was on about in his futuristic 1984.
How music could be made in such anxious times is a human miracle.
Thanks to Ensemble Epomeo, we are allowed not just a glimpse of the times, but a movie of the moods and emotions those closer to the time were exposed to.
There was some compositional preoccupation with form in the seven short movements of Gyorgy Kurtag's Signs, Games, and Messages for String Trio and more emotional turmoil in the two movements of Krzysztof Penderecki's String Trio.
On the second half of the program we felt right at home after these turbulent pieces with the familiar vocabulary of Beethoven's Trio, op. 3.
Ensemble Epomeo is a first-rate trio with such mastery of both the familiar and the new (to us at least) to give us confidence in the music and to seed a desire to hear more of it, more of composers like Kurtag and Krasa. Penderecki as well, except we are probably more at home with his music.
Who, for example, after once hearing his extraordinary Threnody for the Victims of Hiroshima, can ever forget it?
Ensemble Epomeo is making its mark on Halifax this Scotia Festival season.
Stephen Pedersen is a freelance arts writer who lives in Halifax.
"Maintenance is a breeze. I am so happy that we chose InstantEncore!"


text: As an office lady. I am one of the people who loves changing wallpaper, with a new computer background, it refreshes working day. And among all the picture categories, I love natural scenery photos the best. They actually bring peace and tranquility to me, truth be told, it makes me more efficient in working. However, it is never easy to find a suitable image site, time is limited, so I don't want it to be wasted registrating, and I need high quality natural scenery pictures, is there somebody to help me find a proper site?

subset: commoncrawl


text:
User Score
Generally unfavorable reviews- based on 106 Ratings
User score distribution:
Positive: 35 out of 106
Mixed: 9 out of 106
Negative: 62 out of 106
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Apr 4, 2011Ok ok I admit that the game is ugly but I liked it, and much, even if actually has many flaws including
often slow
bad audio
bad video bad gameplay
and a minute to load on a mission equally poor and slow. .. but I liked the game and if it deserves a sufficiency
Oct 18, 2010Do not buy this game. Avoid at all costs. This game has been known to ruin your childhood. The dark overtones are unfitting in a Sonic game, the controls are absolutely horrible, the art design is uninspired and grim, and just about the only thing redeemable about this game is the music, and even then, Sonic games are known for good soundtracks, so this isn't saying much. This game should have never existed.… Expand
Dec 4, 2012Sonic The Hedgehog (2006) was an ambitious game project for Sonic's 15th Anniversary. Although the game attempted to be the biggest and most diverse Sonic experience to date, the game fell flat on its face and bombed hard from being poorly programmed and being in a state that was not anywhere near completion when it was released for sale. The game's story is a convoluted mess of plot holes and lack of logic, the level design is a death trap of poorly scripted events and bad design choices, the horrible camera system which behaves oddly all the time, the absurdly long loading times which show lack of programming refinement, the multiplayer aspects are completely unbalanced making it broken, the game's controls are destroyed beyond belief, the various kinds of specialized game play styles are incredibly glitchy and even the basic core mechanics of the game don't function correctly. The only factor of this game that is positive is the music which is diverse and is quite a joy to listen to. This game is quite simply almost unplayable as no care at all was put into beta testing to ensure the quality of the product or to ensure everything functioned properly because the company wanted the game on store shelves by a specific date. This game is a slap in the face to all fans of the Sonic The Hedgehog IP as it slowed that the developers where more interested in making money than attempting to release a high quality, properly functioning and enjoyable product. In conclusion, This game is garbage and a waste of money, steer clear of it at all costs. I would give this game a rating of 0 out of 10, but I'll be generous and give it a 1 out of 10 since it had somewhat decent music.… Expand
Mar 24, 2011Not the platforming game of the 90s that I remembered. My wife picked it out of a bargin bin for our kids. While the cutscenes are stunning to see on an 52" HDTV, that's about all that's entertaining about this game that tries to develope an Final Fantasy format. My kids don't care to play it past the first hour/ hour and a half. Good thing it didn't cost us much.
Oct 9, 2011I saw this game has lots of hate, but when i played the game myself.. i didn't feel like hating it or calling it bad... because it actually was an awesome fun game to play, and as i am a sonic fan i totally loved it!
But yeah everyone has his own opinion of course, but i don't care about the others, I LOVE THIS GAME AND I NEVER GONNA GIVE IT AWAY! its actually one of my best games in my collection =D… Expand
Apr 19, 2012This Sonic Game may have a lot of hate, but let me tell you this....I LOVE THIS GAME!!! Its one of my Favorite Sonic Games. Not trying to be a Sonic Fanboy, but its true. Silver is Cool, Shadow is Great and Sonic is AWESOME!!
Dec 20, 2010Oh my good lord! I write this in the hope of saving your time and money. I saw the reviews... I knew the reputation... still, I thought; "It can't be that bad! Probably the same quality as Sonic Adventure but without moving it into the next generation very well." So I bought the game.
This is the worst big budget video game I have ever played. There are bad games on the NES that are more fun to play. It's broken and unplayable. I feel like Sega has reached into my wallet, stolen my money and flipped the bird to me whilst running off and laughing about it.
Please... I beg you, IMPLORE you. DON'T BUY THIS GAME!!!… Expand
May 13, 2011It has some good ideas, but unfortunately, Sonic the Hedgehog is just too overly flawed. In stead of giving fans of the 15-year-old Sonic series the best, SEGA gave them the worst. Pros: The best visuals in a Sonic game to date; fantastic cutscenes; some of the Sonic stages are fast and impressive, while Shadow's and Silver's offer some unique adventure elements as well. Cons: Far too many glitches and bugs; terrible and often unresponsive controls; peculiar camera; dreadfully long loading screens; and overall, the graphics are disappointing and lackluster.… Expand
May 19, 2011Sonic the Hedgehog isn't just the worst Sonic game to date... it's also the worst game of 2006. Pros: Fantastic FMVs; overall, there's a lot of variety in the gameplay. Cons: Far too many glitches to bugs; unresponsive controls and camera; poor level design; it has one of the most cringe-worthy kisses in gaming history, as well as a ridiculous storyline.
Aug 7, 2011This review contains spoilers, click expand to view. sonic 06...ugghhhh. this game is balls sonic controls like he did in the other 3d sonic games but slower and given a ton of glitches and downgrades compared to previous games. in certain parts of levels he DECIDES to run fast and these levels control even worst than before such as you cannot move in midair. plus the level design is horrid. tails controls like he did in adventure but his flight is more stiff and during flight tails will randomly loose all momentum and fall.knuckles and rouge control like they did in adventure 2 but they are much slower. tails and rouge both use bombs to attack but they are next to worthles. well at least knuckles can still attack =). knuckles and rouge also have a glitch that when they are climbing walls they get stuck and you will be suck for a long time. shadow controls like sonic but slower and has some worthless attacks to replace useful attacks that sonic had. omega or e - 123 is goddamn game breaking. by mashing the hover button you can fly wherever you want and did i mention he runs faster than sonic? silver is pretty interesting. he can telepathicly pick thiungs up and he can hover for a limited time. but in this game however good comes with a price and that price is he is slow. amy is the worst character in the game. she is like adventure where she already was bad but now... she is to bad to explain. the only character worth playnig as is blaze who is fast and is pretty much what sonc should have been. too bad she has few levels. this game has horrendis load times. be sure to have a snack with you while playing this game. this game however has 1 redeming factor which is the soundtrack. go to truesonic1's youtube chanel to see what i mean. if you have never played this you should pity those who have… Expand
Jun 25, 2013Sonic is the one franchise I will go out of my way to buy a whole console for anymore. Smash Bros is the only other game that has that distinction. Sonic is a series I love and will continue to. Writing this MANY years after the release of this game seems silly and pointless, but this is a game I feel the need to lampoon for two valid reasons. It had A LOT of potential to be the best thing to the franchise, but it failed to deliver. The other reason is because I like to use failures such as this to learn from for future titles in this series or other games. Consider this a teaching and learning exercise for all of us.
The story is fairly standard with Sonic showing up to save a princess from Robotnik/Eggman who has found an evil magic McGuffin to help him take over the world in his vaguely evil plan. The McGuffin turns out to be a real monster that rebels against him and turns into a bigger monster that will destroy all of reality. Sonic is killed and brought back to life DBZ style just in time to take it a step farther and go Super Saiyan along with his buddies Shadow and Silver. So it is pretty much Sonic Adventure but with an added human-character love interest that gets kind of creepy as well as a new story line that pretty much gives Sonic (Goku) a Trunks character in the way of Silver the Hedgehog.
Each storyline plays out like a different bad train wreck. Each has their own bugs unique to them and it shows just how rushed this game's production was to have so many ideas and not enough time to polish them and make them really stand out. There were some genuinely good ideas here, and I feel like some were even built off from for the currently good games (like Colors or Generations).
Sonic plays as per the norm except now his controls are worse. His spindash and homing attack have weirder physics to them. He has special sections called "Mach Speed Zones" where he runs at full speed through parts of levels where hitting an obstacle can send him flying off the stage or just lose his rings. Knowing exactly what is an obstacle and what isn't can be tough at times. Controlling his direction is a bit of a challenge like a pig rapist is a bit on the creepy side. These are essentially the worst parts of the game, often taking all your lives and requiring a full-level restart to actually beat. Tails joins Sonic's storyline as a playable character, giving us the SECOND worst part of the game. He handles poorly in the air. His attacks are both stupid and unreliable. On the ground he's somewhat slow. And we're never given much time as Tails to really get handle for the bad controls anyway. Knuckles also joins the fray, but his controls aren't as offensive and his sections are MUCH MUCH shorter and less numerous.
Shadow brings some of that "Shadow the Hedgehog" gameplay to the table with some vehicles and guns. However, this time, the dev team decided to save time and effort by combining the two instead of having guns and vehicles being separate things. A good idea in theory, as it would reduce the loading times and lag that this game already has instead of making it worse. But trying to drive these uncontrollable monstrosities and shoot at something is about as easy as a mountain lion without being maimed. Not to mention Shadow's gameplay much slower and, at times, tedious because you have to destroy all the enemies in an area to progress and you don't even get the fun Chaos powers from his own game to at least make it bearable. There are sections where you play as Rogue the Bat and Omega. They aren't terrible. Just weird.
Lastly, there is Silver. He is probably the best main character to play as simply because combat for his sections is much easier and less stressful. His gameplay is also slower, but that's because his levels focus more on exploration, genuine platforming and (a few times) puzzle solving. In the hands of a dev team that was actually trying or had been giving time to make this fun, this would have been the highlight of an otherwise servicable Sonic game. As it stands, his levels are merely PLAYABLE with heap amounts of to help keep this consistent with the rest of the game. Puzzles are not explained well and even if they're figured out, still require massive amount of trail and error. Combat MUST BE with his powers and he can't do anything without them. And the platforming is sometimes unreliable and can even be broken by using your powers to get to places in unintended ways.
Sonic 2006 is an example of a rushed game with many bold ideas that could have been one of the best games of all time. But whoever was in charge of putting this together didn't have the time needed to make it work. The result was a sloppy mess of a game and probably the biggest mark against the Sonic franchise entirely. I'm glad to see SOME elements of this game have evolved and made their way into more recent games. And, anything deserves a remake, it's this game. A good version of this would be nice.… Expand
Mar 16, 2012I know for a fact that a lot of people that review this game on here have not really played it. In all truth, this game is underrated. As a fan of the series, I would give it a 10, but for a fair review I give it an 8. I'll give you my honest feelings about this game: The controls are not broken. They work just fine. There is a fine sense of speed here. Characters function normal for the most part. Sonic and Blaze function better than the others, however. Speaking of characters, there are a lot of them to play as, which adds variety. Loading times are occasionally long, but you won't mind if you are patient like me. Stage missions are a ton of fun, but only half of the town missions are fun. Stage missions vary from character to character. Sonic and Shadow are about the same, except Shadow's missions allow you to use cool vehicles, and Sonic has mach speed in certain levels. Some people think mach speed is difficult, but if you use the light speed dash move to follow ring paths, they are easy. Silver, the other main character, is slower, but he makes up for it by having psychic powers, which allow him to deflect objects at enemies. The maturity of the story is executed better than the game Shadow The Hedgehog. I love the graphics. Rarely has there been more detail in a Sonic game. There is not a single track of music in this game that is bad either. Other editions include gems, which are items that you can buy from stores. They give Sonic some cool powers, including the ability to shrink, extra speed, and flight. Sure, there are a lot of glitches here, but they don't make the game unplayable. In fact, some of the glitches are amusing. The only glitch that I did not like is the one where the characters Rouge and Knuckles are stuck to walls. Other than that, I find nothing really wrong. Its not bad, but it is not really really good. It is perfect for real fans of the series. I have played and beaten both the ps3 and Xbox360 versions of the game and they are exactly the same.… Expand
Nov 17, 2012Darn it! I fought this game looked good! But it's not too great, because of..... The slow down is infuriating, it horribly breaks up the whole game, it would be a lot more fluent and fast-paced if it was fixed. The hub-world is super-boring and badly designed, you don't get enough information on how to get to the next level and you get stuck in it for hours, also the slow down is extra-bad when you're in it, Sonic games are best when they have either a small and simple hub-world or no hub-world at all, it annoyingly breaks up the proper experience of the game, the levels. The extra characters that you sometimes play as are not good, they have sucky abilities and are nothing on the main characters. The level design is kinda hard to get through and would be better if it was simpler. The pace of the game is extremely slow for a Sonic games, especially when playing as Amy, she runs at like, 1 mile an hour! The puzzles on the Silver levels could be good but are badly done. The vehicles in the Shadow levels are pointless and hardly turn up. A couple of the bosses are the most infuriating and rubbish bosses I've ever come across, for example: Shadow vs. Silver, and Sonic vs. Silver. The last level is horrifyingly awful. But there are good things about the game..... The story line is interesting and well-written. The cut-scenes are cool, especially the CGI ones. The controls work pretty well. The sonic levels are actually pretty good (they'd be a heck of a lot better if the slow down was gone and if it was more fast-paced, well, the same goes for every character's levels...). Some of the bosses are great. The menus work well. The whole feel of the game is good. That's about it. To conclude: this game was a huge disappointment which is sometimes a pain to play, Sega could of made it loads better if they just revised it and fixed a lot of things, all we'd have to do is wait for a year or two. Total score: 4.9/10.… Expand
Jun 17, 2012Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast! Gotta go fast!
Sep 24, 2012The game I am about to review is the worst game I have ever played. In 2006, Sega needed Sonic team to quickly make a game for the new generation of gaming for the PS3 and 360 for the 06 holiday season. The game is so broken that the PS3 version was delayed for early 2007, but NOTHING was fixed for this game. The story is that Sonic falls in love with a princess that can destroy the world if she cries. BEASTIALITY FTW. The story eventually becomes repetitive as the princess is always getting kidnapped and rescued. Then they add in 2 other stories where Shadow the Hedgehog must battle a recolor from Deviantart and Silver must save his world 200 years in the future. Shadow's gameplay is like Sonic except it focuses on a combination of speed and combat. Shadow's gameplay is not really good, as there are as many bugs and glitches as Sonic's. And then there is Silver who is a psychic hedgehog who randomly throws objects across the stage. I got this game in the bargain bin for $10 but it was not even worth that. If you even think about buying this game, you will regret it for the rest of your life.… Expand
Oct 11, 2012I just want to say, the hate this game gets is entirely irrational and unfounded. Never has a game had such marvelous skyboxes, in fact I daresay this game presents to us the finest skyboxes in the ENTIRE GAMING INDUSTRY. Indeed as an expert connoisseur of video games as art I am qualified to say that Sonic 06 is not only a work of art but it is indeed a revolutionary masterpiece that no developer could possibly hope to match. Well perhaps the fine video game design that is Pacman World 2 could compare, but honestly it's a long shot; Sonic 06 is simply too beautiful a cloud amidst the skybox that is the video game industry for anyone to compete with.
Incidentally, Neo, will you marry me?… Expand
Jan 31, 2013people might say this is the worst game in the sonic series but i say its one of the best. not THE best but one of them. in my opinion this game has a great story,variety, and (i mean it) game play. the only thing it lacks is the physics and dr. Eggman. i one stood still on a loop de loop and was unable to move in that snow boarding stage. it is also the game that silver came from silver. (not the coolest hedgehog but still ok) overall i give this a 9/10. and believe it or not, i meant everything i said.… Expand
Jun 6, 2013A great game. A rushed development but its not half bad. The problems is that it has a alot of glitches and the story is very out of whack but its actually something to enjoy playing. Great gameplay, a magnificent soundtrack and just a fun game. In this game, speed is not a priority... Sonic is speed based, Shadow is based on more of a combat feel to it, and Silver has the platform feel to it with his telekinesis. Overall its a great game.… Expand
Sep 18, 2013It's not the worst Sonic game. For Sonic's story, Radical Train and a couple of other levels were fun, but some of the levels on Sonic's story sucked. For Shadow's story, same as Sonic's. And for Silver, he was the worse. I gave it a 5 because, look at the negative reviews, and because some of the levels were good.
Oct 26, 2014This game has some serious problems, like huge frame drops, getting stuck in walls, bugs, glitches and very long loading times, but in the end, the game isn't THAT bad as everybody says. The funny thing is, these problems make this game a bigger challenge for hardcore gamers.
The game has pretty good aspects, like a great soundtrack, good voice acting, great presentation, lots of collectibles, lots of missions and awesome CGI cutscenes.
The gameplay in this game is okay / mediocre. The gameplay itself is great, but the weird controls with Tails, the getting-stuck-in-wall glitch with Knuckles and Rouge, framerate slowdowns and extreme loading times hurt the overall gameplay experience. The game has it's fun moments, but these problems make it very frustrating for me to play this game.
The concept of the story is absolutely awesome and Silver and Mephiles are great characters (Elise not so much, lol), but the story itself is confusing and weird (I am looking at you, Elise), and has a lot of plot holes.
Overall, (counting ALL aspects of the game), the game isn't that bad. Okay, the gameplay is not that great and the game has some serious problems, but it has it's fun moments.
I really want Sonic Team to give this game a extreme make over, because this game has a lot of potential. The remake should be renamed to Sonic Adventure 3, because that is what this game actually is.… Expand
Jul 17, 2014Sonic 06 is an underrated game. Screw the reviews and complaints it gets. This game rules. The stages are fun, the graphics are amazing, the soundtrack is awesome. I know Sonic 06 does have it's problems but that does not make it bad. And also the Silver boss fight is great especially if you are Shadow!
Nov 25, 2013This game is a bit underrated. The game has a lot of bugs and glitches, storyline isn't much interesting, loading screen always lasts around 22 seconds (yes, i did count that), it lags from time to time and characters are very slow compared to every other game in franchise. Music on the other hand is really catchy and i stays for a long time in head. Most of glitches can be avoided in some way. I really enjoyed the game but I would not pay more than 15$ for it.… Expand
Oct 4, 2014This game is glitchy like if you walk on the line where the sidewalk and road meet you get stuck. Your partner disappears and randomly response in their dying animation. I love that shadow is in this game and I hope he gets to be in more games in the future and maybe another one of his own. I love how you can play the story in 3 perspectives though sonic, silver and shadow. The graphics make it look like a bad ps3 game but a good ps2 game.… Expand
Jan 2, 2014Sonic the Hedgehog for the PS3 is a decent game. The story is really lame, yes, but it had nice ideas, such as time travel, something that was planned to be in Sonic 2, and that would actually work if it was like it was supposed to be in Sonic 2, but it wasn't. The gameplay is solid, but there is a lot of problems, such as dying due a programming mistake, on the first level. Most of the time, the game play works for the main characters, but there is a lot of problems with the other characters such as Knuckles, which would cause many glitches while playing as him. The stages are detailed and they have nice designs, but like said earlier, the game have a lot of glitches making those levels unplayable at some points. The soundtrack is amazing, the main theme His World is pretty dang awesome and the final boss themes are actually pretty great. Overall, this could be a good game if Sega didn't rushed it, Sonic the Hedgehog for PS3 is a decent game, with or without glitches with some fun parts. The most fun part of the game is to laugh at the horrible plot with millions of plot holes.… Expand
Apr 28, 2014This is one of the most underrated games ever! this is one of my favourite sonic games ever, aside from All Stars Racing Transformed and Generations. i will say that the camera controls are bad, and there is one major glitch, but apart from that, this game is a fun one. to start off, the opening cutscene's graphics on the princess's face look Amazing!! the major glitch is the fact that, occasionally, you can't get past act 1! i was fortunate to avoid this. Overall, great game.… Expand
Apr 19, 2014I love this game myself! I know it has lots of glitches and bad stuffs, but there are deeper meanings behind all this. Plus, i turned the negatives into positives. It's a great Sonic game!! those who despise it, f*** YOU!!!
Jun 5, 2014Absolutely atrocious, ridiculously long loading times, incredibly glitchy, one of the worst games ever made, likely a classic example of what happens when you rush a product to meet a deadline.
Jul 25, 2014This review contains spoilers, click expand to view. THIS GAME IS TERRIBLE THIS IS SERIOUSLY ONE OF THE WORSE GAMES OF ALL TIME I MEAN THE GLITCHES ALL THE GLITCHES I CAN'T STRESS IT ENOUGH I'M ACTUALLY SCARED OF THE GAME PRINCESS ELISE IS ONE OF THE WORSE CHARACTERS EVER YOU SNEEZE OH SHES GONE KIDNAPPED AND THEN YOU SAVE HER ONLY FOR HER TO GET KIDNAPPED FOR THE SECOND TIME ALSO BEASTIALITY IF YOU CAN SIT THROUGH THIS GAME GG MAN gg......I am now dead… Expand
Nov 9, 2014Un gioco che ha deluso molti amanti della serie ma che personalmente a me è piaciuto molto,forse avrei preferito che avessero migliorato il gameplay e che avessero diminuito i troppi bug,tuttavia la storia è qualcosa di spettacolare,mi ha saputo coinvolgere dall'inizio alla fine e tra l'altro la colonna sonora è una tra le migliori che io abbia mai ascoltato in un videogioco.
Sonic the Hedgehog may share its name with the Genesis original, but this game is even more broken than most of the other recent Sonic games have been.
If you're willing to withstand the constant onslaught of glaring issues regarding the control, you might be able to revel in some of those aforementioned highlights, but it won't last. In the end, you'll find yourself wishing for the good ol' 16-bit days.


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Jinwoon and Seulong of South Korean boy band 2AM attend the 'Love... News Photo 158224390Arts Culture and Entertainment,Attending,Band,Boys,Child,Screening,Seoul,South Korea,VIP,VerticalPhotographer Han Myung-GuCollection: WireImage 2012 Han Myung-GuSEOUL, SOUTH KOREA - DECEMBER 11: (L-R) Jinwoon and Seulong of South Korean boy band 2AM attend the 'Love 119' VIP Screening at Kyung Hee University on December 11, 2012 in Seoul, South Korea. The film will open on December 19 in South Korea. (Photo by Han Myung-Gu/WireImage)


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By Sarah Young LONDON (Reuters) - Britain said it would award a contract to run trains between London and Scotland to a Stagecoach and Virgin partnership, returning the East Coast line to private control after five years in state hands. Britain's Department for Transport (DfT) on Thursday selected the duo over the other two shortlisted bidders, British transport company FirstGroup and a Keolis-Eurostar joint venture controlled by the French state railways SNCF. The government said it would receive about 3. ...
KABUL, Afghanistan (AP) — A suicide bomber rammed a car packed with explosives into a British embassy vehicle in the Afghan capital on Thursday, killing at least five people, including a foreigner, Afghan officials said.


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Acorn Squash and Spaghetti Squash have smaller seeds than the larger butternut squash and the more popular orange pumkins associated with this time of year. I love acorn squash seeds because the tiny and soft inner green seed is very tasty, however, they do require a bit of patience to prepare and eat these smaller-than-bite-size snacks. Oven-Roasted Squash Seeds Making ... Read More »
Acorn Squash & Apple Soup
Would you ever put apples into a soup? Necessity and hunger make for very imaginative recipes, in my opinion. Or, if you're anything like me, you hate to waste food and need to figure a way to clean out the fridge before even thinking of another trip to the grocery store. Read More »
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If you read your Sunday coupons carefully, you might have found the ad for a free recipe book on the Sun-Maid Raisins or Dried-Fruit Packages coupon ($1.00 off two). If not, the information below will show you the variety of recipe books they offer. One per household only. Enjoy! And please, share with us if you make any of the ... Read More »


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Port of Miami - Carnival Cruise ship Valor, MiamiFlashback Cruise Brings New York Nightlife, Dance Music Icons, Foodies, Charity, and Social Media To Sea Innovative Miami-Bahamas Weekend Getaway Hosted by MTV's Downtown Julie Brown ft...
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Importance of Spiritual Practice in Daily Life
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One Lens Film Festival Announces 2014 Official Selections
The 3rd Annual One Lens Film Festival announces its official selection of short films for the 2014 line-up. The one night festival will consist of six short films that highlight the human experience.
"There were so many thought provoking well produced films that exemplified our theme of purpose and human experience. It was very difficult to narrow the entries down to just a few. We are very pleased with our programming for this year's festival and hope our audience enjoys our selections as well. " - Charity Bailey, Festival Director
The 2014 One Lens Film Festival Official Selections Are:
Director: Craig Tovey
Producer: Edwin Walker, Iman Milner, Anthony B. Phillips, Craig Tovey
Starring: Iman Milner, Anthony B. Phillips
Synopsis: A compelling tale of the cycle of love and heartbreak as told through the experiences of two people who fall in love during the wrong season.
Director: Joris Debeij
Producer: Joris Debeij, Jordan Debeij
Starring: Alma Velasco
Synopsis: Alma is a single mother. When she was 16 she had to leave her country, El Salvador, cause of a civil war. Her dreams of going to school were gone. She is now starting a new life and trying to enable the dreams of her daughters.
Director: Evita M. Castine
Producer: ELENA Ostroumova, Zachary Skipp
Starring: Kennedy Zimet, Brooke McNeal, Aaron D. Spears, Michole White, and Michael Beach
Synopsis: When a young girl is kidnapped from the Congo and sold as a sex worker to the U.S., she finds an escape from reality by watching a TEENAGE girl next door.
POUR RETOURNER (Canada)
Director: Scooter Corkle
Producer: Daniel Domachowski
Starring: Starring Michael Rogers, Sebastian Spence, Philip Granger
Synopsis: A talented prison chef with the respect of his fellow inmates is paroled to a world that does not want him. He struggles to secure a job with a vindictive former coworker, who treats him like human garbage. Pushed to his breaking point, the chef must take drastic action to restore his equilibrium.
Director: Melanie D'Andrea
Producer: Natalie Mirskey, Tierney Young
Starring: The Demolition Crew
Synopsis: Through Krump, one dance crew takes a stand against the poverty and crime plaguing South Los Angeles.
Director: Harris Doran
Producer: Dani Faith Leonard
Starring: Harris Doran, Rachel McKeon, Cathy Moriarty, Alysia Reiner
Synopsis: a love story about Annie, a restless secretary, who tries to discover the mystery of Milo, a guy who hasn't spoken since he was six years old.
Official selections are eligible for the 3rd Annual One Lens Film Festival winner's circle that will be determined by a Jury of esteemed entertainment executives. The 2014 jury includes;
Traci Blackwell-Vice President of Current Programs at The CW Network
Cale Boyter-President, Disruption Entertainment
DeVon Franklin-President/CEO, Franklin Entertainment
Charles King-Partner/Agent, William Morris Endeavor Entertainment (WME)
Dan Lin-CEO, Lin Pictures
3rd Annual One Lens Film Festival
Saturday, September 20, 2014
ARC Theater, Los Angeles
6:30 PM Red Carpet
7:30 PM Program Begins
Admission Is Free With Registration
About Author
- HBO to Air Documentary KURT COBAIN: MONTAGE OF HECK in 2015
- UTOPIA and More Top 2014 International Emmy Awards; Winners List!
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- GONE GIRL, Benedict Cumberbatch, Julianne Moore Top 2014 HOLLYWOOD FILM AWARDS; All the Winners!
- VIDEO: Jennifer Aniston Reveals HORRIBLE BOSSES 2 Character is 'Insanely Wrong'
- Jon Stewart to Visit THE O'REILLY FACTOR to Discuss New Film 'Rosewater', Today


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Drunk Man Arrested Going 122 mph
Connecticut State Police have arrested a Massachusetts man for DWI after he was pulled over going 122mph. State Police say at 2:45am Sunday …
Woodstock man pleads guilty to child pornography charges
A Woodstock man pleaded guilty Thursday to federal child pornography charges.
Plainfield man speaks out about overpayment scam he encountered on Craigslist
The money orders Steve Wozniak received may not even be worth the paper they're printed on. They're part of an overpayment scam he almost fe…
Handicapped man burned in Willimantic fire
A handicapped man is being treated for burns after he was rescued from a house fire in Willimantic Wednesday afternoon.
Willimantic babysitter facing sexual assault charges
A Willimantic woman is facing several charges including first degree sexual assault after she was arrested Tuesday morning.
Arrest warrant details allegations against Thompson Boy Scout leader accused of abuse
Five alleged victims have come forward with disturbing allegations against their boy scout leader. He's due in Danielson Superior Court next…
Arrest made in two Killingly bank robberies
State Police arrested a Rhode Island man in connection to two Dayville bank robberies.
Computer technician pleads guilty to data theft
A computer technician working for the Coast Guard has pleaded guilty to charges he stole personal information from hundreds of computers and…
Pantless man accused of driving around child in Plainfield
PLAINFIELD, Conn. (WTNH) — A man is due in court, accused of picking up a juvenile and driving the child around. Police say, the man's pant…
Price Chopper chain changing name to Market 32
The Price Chopper supermarket chain plans to change the name of its 135 stores in six states to Market 32 in a $300 million rebranding move.
Main Street in Willimantic reopened after rollover crash
Two women have been taken to the hospital after their car collided with another on Main street in Willimantic Tuesday afternoon.
Route 32 closed in Willimantic
Police say Route 32 will be closed near Willimantic Plaza until late this afternoon.
Student transportation driver arrested for DUI crash
Willimantic Police have arrested a woman Thursday morning for driving under the influence and crashing a student transportation van with chi…
State Democrats claim legislative candidate harassed by Republican opponent
The state Democratic party is claiming that one of their candidates for the state legislature, a woman, is being subjected to harassment by …
Thompson boy scout leader accused of molesting children
News8 is learning more about David Kress and his connection with the Thompson Boy Scout troop. We found out he was a member of troop 66 ever…


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>La Grande Observer | Union and Wallowa Counties' News Leader
view all La Grande Observer print publications »
The LaGrande Observer is now online in a Replica E-edition form and publishes Mondays, Wednesdays and Fridays. Current subscribers have full access to the E-edition.
If you are not a current subscriber, subscribe today for immediate access.
Runners take off to begin the one-mile race at the Lostine River Run. Ben Shaw of Deer Park, Wash., won the race, while La Grande's Andrew Lackey, Maia Vandervlugt and Taylor Fox finished second, third and fourth, respectively. (KATY NESBITT/The Observer)
Eastern Oregon grad Alma Crow wins 5k race
LOSTINE — Less than a year after giving birth to her daughter Riley, Eastern Oregon graduate Alma Crow emerged as the winner at the Lostine River Run 5k Saturday with a time of 18 minutes, 49 seconds.
"I was really nervous. I just wanted to place in the top 10," Crow said.
Crow, a La Grande High School track coach, brought team members Elliott Jonnasson, who won the 10k in 35:21, and Todd Keniry was just behind him finishing at 35:29. Tim Vandervlugt, also of La Grande, placed third in 36:19.
"I was very excited," Crow said. "I tried to stay with the kids, but I didn't know what to expect. I love the course, it's a great race. I liked the drive out to the start and it went by fast. It's no wonder they've been doing this for 31 years."
"We had good competition most of the race." Jonasson said of the 10k.
Crow said the La Grande High School team is running many miles to prepare for the upcoming cross country season. Crow said the first meet is in Hermiston after school starts. The team had no seniors last year and missed going to state by two points.
"Overall, we have a very promising team," Crow said.
Another Grande Ronde Valley team was represented in Lostine with Union's Kathryn Sheehy, Elly Wells and Hannah Brazil of Cove. Wells was fourth overall and the second woman in the 5k with a time of 19:25 behind Harris Lackey of Cove, who finished in 19:04. Petra Evand of Joseph finished as the third woman in the 5k and sixth overall with a time of 19:56, coming in behind Robert Bondurant of Chimacum, Wash., who finished fifth in a time of 19:34.
For the full story, see Monday's issue of The Observer
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I have played the dvd several times and each time from 10:10 to 22:09, the picture is terrible. (After 22. Read morePublished 1 month ago by Mee C Stevens
This is certainly NOT A REMASTERED film as the item claims. I love this film, but my crapy $1.50 copy from Digiview Productions is better quality than KINO's. Read morePublished 1 month ago by SeattleBeard
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We were very disappointed when our DVD arrived and it would not play in our DVD player. It seemed to be too thick and would get stuck in the machine. Read morePublished 7 months ago by panouill
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August 8, 2014 - Industry News
Dust storms, in an instant, can dramatically reduce visibility and create driving conditions that can lead to major chain collisions.
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UPDATED, Jan. 9, 2013, 9:45 a.m., EST Extraordinarily cold weather in part of the U.S. has resulted in more states issuing emergency declarations, waiving mainly hours of service rules, when it comes to hauling various fuels.
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Emergency hauling declarations, suspending hours of service rules for truck drivers, are piling up across the nation.
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The Journal Sentinel sports staff brings Milwaukee Bucks fans the latest news, notes and analysis
Bucks show brotherly love as Thanasis has workout Monday
Giannis Antetokounmpo works out regularly on the Cousins Center court, the practice facility for the Milwaukee Bucks.
On Monday the Bucks' 19-year-old forward will step aside as his older brother, Thanasis, takes part in a draft workout with Milwaukee. »Read Full Blog Post
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Sorry, I was out of town for the weekend. Is it my pick yet with the T-wolves at 13?Hide replies
psssst!!!!! over on MOCK DRAFT CENTRAL, you're in the batter's box, G$. don't take d00gie McBuckets!!!! we're saving him for BulZstein.
kstein didn't mark who harms pick was at 12.
You can run...but, ya can't hide.
Uh, (Money)...get back to the board, pronto mate~>)
so are 1st round prospects just not doing workouts out yet? i haven't even heard of most of these guys the bucks are bringing in so far.....Hide replies
The Top 3 aren't coming to Milwaukee until they're done in Cleveland, and even then they may wait. Milwaukee is hardly a destination at this point and it may be a challenge to get them at all.
well then fine.... u draft them & if they dont want to play in milwaukee they can take the royce white route & not play. why anyone is treating these players like they hold any leverage is beyond me..... i mean so is it a guarantee that we're only taking one of embiid, parker & wiggins? no need to even bother having a look at anyone else?
What's the challenge Kareem?
If they declared themselves for the draft conditions exist in
which it is impossible to not go to the club your picked by.
OH, they may not like it, but, hey, that's part of the deal.
Just not go Ok. Then what? You cannot go back to college.
Hello Europe.? Maybe.?
While GIA> no doubt would love to have his brother, and
the Bucks would be doing a huge service by keeping it
All in the Family, how many 'projects' can a club take on.
GIA> himself, Henson, etc. are guys all vying for minutes
and in need of floor time. Its a good story that will not
end well for the GIA> family it would seem>?
you got to pick where you were going to play in college..... if you liked that so much, you should have stayed in college.
Kstein I agree if Giannis wasn't on this team his bro.wouldn't even be mentioned coming here let alone using a high second rounder on him.
The bucks don't need another Giannis 2.0 The fact that no one has any idea if Giannis will even improve to that God status this board and other boards have him at already.I'm not waisting a high 2nd rounder on a guy that no one would care about if his brother wasn't on this team.There are much better options out there than him.
Like Cleveland is so much better than Milwaukee to live way a steaming pile of dog crap that is.
Parker will work out a b d so will,Wiggins it's already been reportedly that through sources both will be here
Kareem what are you talking about? The Bucks have the 2nd pick. They will have to come. Cleveland is no better than Milwaukee in appeal. You dont see LeBron James there do you? Guys like this who are one and done should yearn to come to a place like Milwaukee where they can be the man in a small pond until they blow up and make it their team. There will be chances of fame and endorsements in Milwaukee just like anywhere else! We are part of the NBA brand...cities and markets do not make any difference then they did in the 80's and 90's then they do today. Agents can lie and tell a kids that all they want and use it as a pitch and selling point, but it is not true. You can star in Milwaukee as well as anyplace else if the Ownership is willing to make this place a destination place like they are doing in other places around the league.
driese....wrong. Giannis brother is a good player in his own right and is not like his brother in style. And guess what, yes you bring his brother in and seriously consider it if he can play and he has paid his dues. He was in the D-League. You can draft him over drafting a Euro guy and stashing him or selling the pick. Of course you bring him in and draft him if only for a feel good story. It has worked in Phoenix with the Morris twins and it is good for the gate. Nothing wrong with bringing him in and seeing what he has in Summer League and going from there. It would even help if he is not drafted and then we pick him up as a free agent and have him come to Summer League. Then all of you "don't waste a pick on him" can calm down.
hilarious that they're all supposedly dying to go to cleveland of all places.... but milwaukee is where they draw the line????? LOL
"Ok, that's were we will draw the line".....*TED*
bring back juan nieves.....I know. Right!? This is a waste of time. They need to better utilize this time.
They will b here none of them have said no,relax even embiid said that if Cleveland doesn't make a promise he will cone to Milwaukee.Parker n Wiggins according to sources have no problem coming here to work out
The Bucks can't get better guys in here to look at and work out!? Come on now...they have 3 second round picks. Come on McKinney. Who is in charge of who comes in here to work out? Most of theese guys should not or will not be drafted at all so why are the Bucks bringing them in? I have looked at various mock drafts and there are many others who they can schedule to come. This is why the new owners should have brough their own people in immediately. We can't mess up this draft and I especially want to utilize all of these second round picks. This is where your depth is. How players are drafted 60? and you can't find more guys then this?


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Black Friday is a great day to score huge deals in games and gaming gear. Here are the best offers to keep an eye out for.
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Tokyo Steel Manufacturing,
ferrous scrap,
scrap buying,
scrap prices,
purchasing prices
TOKYO Tokyo Steel Manufacturing Co. Ltd. has adjusted its scrap purchase prices for the first time in a month, cutting them by ¥500 ($5) per tonne.
The reduction will affect delivery charges to four of its five works, with those to its Tahara unit left unchanged.
As a result, Japans largest electric-arc furnace (EF) operator and effective benchmark price-setter now pays ¥32,500 ($326) per tonne for both land and seaborne deliveries to Tahara, ¥32,000 ($321) for those to its main Utsunomiya factory, ¥31,500 ($316) per tonne for those to its Kyushu and Okayama plants, and ¥30,500 ($306) per tonne for those to its Takamatsu facility.
The companys latest price adjustment, its first since May 7, amounts to scrap charge reductions of 6 to 9 percent since early April, or ¥2,000 to ¥3,000 ($20 to $30) per tonne.
Moreover, traders say that after a period of relative stability, sentiment is becoming increasingly bearish and other mini-mills are likely to follow Tokyo Steels lead in reducing charges, particularly with the yen gaining strength over the past few days just as U.S. scrap prices appear to be retreating.
A version of this article was first published by AMM sister publication Steel First
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We actually don't know who his investors are. At the point when we are ready, we will investigate further. There are just so many things to handle and there are a lot of items to be considered with the project."
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