 However, Tognetti, normally the cynosure of the players’ eyes, didn’t entirely relinquish the directorial role, gesturing at one point to the off-stage sound engineer to raise the sound level. The man with the laptop was not the only reason for the word “electric” in the title: the soloist, too, was performing on an electric violin. At least, that was what it was called: is something which has six strings (the standard four, and two lower), only a skeletal frame, and no scroll or pegbox really a violin?
To be fair, Tognetti played it in the traditional manner, and frequently the tone emitted conformed to normal expectations of a violin. For instance, no. 1 (“Abandoned playground”) used sul ponticello effects (playing near the bridge, which gives a glassy sound) and harmonics, both standard techniques, over the course of a large-scale structural crescendo and decrescendo. At other times, the soloist’s tone was artificially manipulated: in no. 4 (“The beyonds of mirrors”), he produced an eerie sci-fi whistling sound, against a series of descending slides from the orchestra. At the beginning of no. 2 (“Topography – Papunya”), Tognetti seemed to blow on the instrument, creating disembodied electronic voices. No. 5 (“Perpetuum mobile”) had something of the energy of Prokofiev or Bartók, but (despite the name) the momentum changed during the cadenza, where at one point the fluttering echoes sounded Middle-Eastern to my ears. The short melodic tags of no. 6 (“Berceuse”) were set against an intensely lyrical sustained string background. Tognetti was seemingly at ease on his stunted instrument with the paradoxically larger range, and the performance as a whole was intense and gripping.
This name given to this concert, “Tognetti’s Mozart”, became relevant in the second half. Mozart’s Violin Concerto no. 3 in G was performed with aplomb, with cadenzas by the soloist. As befits a performer-director, Tognetti also joined in with the tutti passages, turning to face now one section of the orchestra, now another. In the final piece, Mozart’s “Little” G minor Symphony (so-called to avoid confusion with the better-known Symphony no. 40 in the same key), the orchestra’s greatest virtues were on full display: their lively communication with each other (constant visual contact with either Tognetti or other sections of the orchestra, little smiles of appreciation for each other), precision in articulation and phrasing, and a pleasing freedom of gesture and movement (enabled by the fact that most of the instrumentalists stand throughout). Given that the boundaries between creating and performance are unusually permeable in Tognetti’s ACO, it was nice to see Dean in the viola section for this piece. A quick glance at his CV, where it mentioned his having been a member of the Berlin Philharmonic in the 1980s, confirmed that he had the playing chops to mingle with this talented band. Highlights for me were the emergence of the meditative oboe tune after the full throttle opening of the first movement, and the wind trio in the third movement. The audience was unreservedly enthusiastic at the close. Based on the reviews excerpted on their website, the ACO have wowed the critics in places such as London and New York: let’s continue to enjoy the fact that “probably the finest string ensemble on the planet” can be found on our doorstep.
In the golden autumn of October, the city of Changsha shows its great vitality with clear fall sky and bracing air. There were as many as twenty international students from Changsha Medical University having paid a visit to the Carnation International Pilot Center for the Elders in Wangcheng District of Changsha City on October 10th. Most of these international students are from Pakistan, Nepal and other foreign countries.
They worked as volunteers in the center and spent a pretty joyful and meaningful day with the elders there too. This volunteering activity aimed to relieve loneliness and increase happiness for the elder people in the center. During the activity, the international volunteers conducted a series of cultural and amusing performances for the old people such as singing, dancing, playing various games, chatting, playing Taiji, etc.
In so doing, our volunteers showed their genuine love and kindheartedness to the elders there. At the end of this activity, the international volunteers won fine reputation and compliments from the leaders and the masses present there.Frozen, ready to bake fine butter laugen croissants. This croissant has a crispy, salty outer crust much like a pretzel with a traditional soft fluffy buttery centre. A great option for a breakfast buffet or afternoon tea.
WHEAT flour, water, BUTTER 21%, sugar, yeast, EGGS, salt, WHEAT GLUTEN, skimmed MILK powder, acidity regulator (sodium hydroxide), powdered MILKFAT, flour treatment agents (alpha-amylases, hemicellulases, ascorbic acid), powdered non-fat dry matter of CREAM.
Preheat oven to 190c and bake for approximately 15-18 min at 165-170C, open damper.The BBC will produce seven new adaptations of Agatha Christie murder mysteries over the next four years, including Ordeal By Innocence and Death Comes As The End, it has been announced.
The production deal between BBC One and Agatha Christie Productions Ltd follows the huge success of And Then There Were None last December, which drew eight million viewers.
Another novel set to get the small screen treatment is The ABC Murders, about a race against time to stop a serial killer who is operating across 1930s Britain.
In addition to the seven new productions, filming has already begun on two-part drama The Witness For The Prosecution, adapted by And Then There Were None writer Sarah Phelps and starring Sex And The City actress Kim Cattrall and Dad’s Army actor Toby Jones.
Phelps will also adapt Ordeal By Innocence, one of Christie’s favourite novels, which will be produced by Mammoth Screen – the company responsible for And Then There Were None.
The writers of the other six adaptations are yet to be announced.
Charlotte Moore, director of BBC content, added: “These new commissions continue BBC One’s special relationship as the home of Agatha Christie in the UK.
How correlation may be misperceived as causation?
i dont see the correlation to any kind of question!
This is a complicated question and a very good one. Quite often situations evolve that when examiined seem to indicate a particular event or incident caused the situation to develop. That is causation. However, sometimes upon closer examination the evidence indicates that the origional reason thought to be the cause wasn't correct and that the event and the situation merely shared a relationship. Ocassionally, there are multiple relationships that share in the cause. The problem is that causation and correlation can be easily confused. For example, in global warming is man the cause of the problem or is there simply a relationship among many others. Man, I think I gave myself a headache.
I know, I don't how I managed to make such a convoluted explanation. I should have made it simple and said if two systems share a relationship but neither caused the other to evolve then it's correlation, but if one of the systems was responsible for the other being created or changed then it's causation.We fully expect this product to do well is select groups. View and Download Yamaha R-S700 owner's manual online. The only way to hook up your CD player is via analog stereo RCA cables. The “ART” part of the “ToP-ART” moniker refers to Yamaha’s chassis design that they claim eliminates effects of external vibration. Does the higher damping factor of this receiver mean I’ll definitely like the sound better? It seems to be getting out of control, don’t you think? Sporting 100 watts per channel, the R-S700 has more than enough oomph to be the centerpiece of any two-channel setup. If you happen to have an IR repeater, the second remote may be useful to you. … Elite class stereo receiver combining ToP-ART technology and … Discuss: Yamaha R-S700 - receiver Sign in to comment Be respectful, keep it civil and stay on topic. Yamaha Receiver R-S700 in einem sehr guten Zustand! It … De R-S serie is ontworpen met een streven naar een zo helder mogelijke … Most likely, however, the person is just a two-channel lover. When not studying, tinkering, or being a husband and father, Kieran loves to ride bikes (mountain and road) and to row crew boats competitively. Is a damping factor of 240 too high? I would be interested to try a double-blind test with this though, and see if I really preferred the sound with it off. Analog inputs only! This receiver had plenty of juice to rock out, all the while maintaining its composure. There are Tape outputs for recording and a removable power cord. The US version of Yamaha's R-S700 has some definite improvements over the UK version. While the obvious difference from a traditional home theater receiver is the number of channels, the R-S700 is not lacking in power or features. The new Yamaha R-S700 is a no-frills* 2 channel stereo receiver. I turned on the CD Direct Amp switch