Flash Compressor

Mar 19 2012

Prague Philharmonia

By Chris

Prague Philharmonia
Event on 2012-03-21 20:00:00
PRAGUE PHILHARMONIA
with Jiří Bělohlávek, Conductor

Wolfgang Amadeus Mozart: Don Giovanni, overture
Leoš Janáček: Suite for Strings
Jan Václav Hugo Voříšek: Symphony in D Major

PROGRAM COMMENTARY:
The world premiere of the opera Don Giovanni on 29 October 1787 at the Nostic (today’s Estates) Theatre in Prague met with great acclaim, paving the way for the work to become a permanent fixture of opera houses worldwide. Wolfgang Amadeus Mozart was commissioned with writing a new opera during his visit to Prague in January 1787. Unlike in Vienna, where it had flopped, his previous opera, Le nozze di Figaro, garnered tremendous success in the Czech metropolis. Mozart worked on Don Giovanni over the next few months, yet only applied the finishing touches to it after arriving in Prague on 4 October. As in the case of Le nozze di Figaro, the libretto was written by Lorenzo da Ponte. The opera, about the admired and condemned rake and rebel, radiates Shakespearean ambiguity, blending slapstick comedy and tragedy, the “high” and the “low, giving rise to philosophical contemplation while at the same time affording splendid entertainment replete with excitement and humour. This year, 225 years will have passed since the world premiere of the opera Don Giovanni.

The Suite for String Orchestra was written in 1877 and is in fact Janáček´s earliest surviving instrumental piece, apart from the Intradas and Sounds in Memory of Förchtgott-Tovačovský. Its six parts had originally been denoted Prélude, Allemande, Sarabande, Scherzo, Air and Finale (in the 2nd version), but Janáček later gave the titles up. The suite documents the fact that in its time Janáček still regarded composing rather more as a complementary activity than as the main concern of his creative endeavour.

The piano virtuoso and composer Jan Václav Hugo Voříšek was one of the last Czech musicians (later on termed “Czech musical emigrants”) who in the second half of the 18th and the early 19th centuries left their homeland to seek fame and fortune abroad. The desire to meet Ludwig van Beethoven in person was one of the main reasons why Voříšek interrupted his studies of law in Prague and in the autumn of 1813 departed for Vienna. In addition to composing, he regularly gave concerts, and his virtuosic technique soon earned him the reputation of being one of the finest pianists in the Austrian capital. During his performances for Viennese aristocrats, he actually encountered his idol Beethoven. Voříšek completed his only symphonic work, Symphony in D major, Op. 23, in January 1823. The composition was first performed at a concert of the Vienna-based Society for Friends of Music alongside Beethoven’s oratorio Christ on the Mount of Olives. Considering the fact that it was Voříšek’s first symphonic piece, its maturity is truly amazing. The composer did not linger with a slow introduction, which until then was relatively common: the main theme appears right at the beginning of the first movement, which is noteworthy for its compactness and torrential cadence. It is similar in the following movements, which display the composer’s inspired inventiveness and superb instrumentation. The Beethovenian heroism and pomp is overridden by conciseness and effective use of the available means, with elements echoing Baroque flashing through in places, as in the case of Wolfgang Amadeus Mozart’s late works. ~Kryštof Spirit

PRAGUE PHILHARMONIA was established in 1994 upon the initiative of the conductor Jiří Bělohlávek as a chamber ensemble made up of young music school graduates playing with true engagement and passion. Following 1996, when it became one of the first public benefit companies, it gradually came to be ranked among the Czech Republic’s foremost orchestras and built up renown abroad.
The fundamental configuration of the Prague Philharmonia is based on the type of orchestra dating from the period of Viennese Classicism, whose compositions form the cornerstone of its repertoire. In addition to paramount works of this epoch, the Romantic era and the 20th century, the concert programme is supplemented by a special series of concerts featuring modern and contemporary music, still rather exceptional when it comes to the leading Czech orchestras. When it comes to education, the Prague Philharmonia not only dedicates to talented young musicians in the Prague Philharmonia Orchestral Academy, but children too.
It was the first orchestra in the Czech Republic to start organising special concerts for children. Owing to their conception, the concerts do not create the impression of being “educational” but, conversely, familiarise children with classical music in an extremely entertaining form. The programme for children is completed by the Notička club for children, which strives to cultivate their aesthetic sensibilities and extend their leisure-time activities.

The Prague Philharmonia frequently performs at prestigious world concert halls, is a regular guest at international music festivals and appears with world-famous conductors and soloists, including Vladimir Ashkenazy, Milan Turković, Emmanuel Villaume, Jefim Bronfman, András Schiff, Shlomo Mintz, Sarah Chang, Isabelle Faust, Mischa Maisky, Magdalena Kožená, Anna Netrebko, Natalie Dessay, Rolando Villazón, Placido Domingo and many others.
The orchestra has to date recorded more than 60 compact discs for labels of such renown as Deutsche Grammophon, Decca, Supraphon, EMI and Harmonia Mundi. One of the most recent Prague Philharmonia albums is the live recording of Bedřich Smetana’s My Country from the opening concert of the 2010 Prague Spring festival.
Among the interesting projects the Prague Philharmonia has lined up for the 2011-12 season are a tour of Japan and South Korea, an orchestral concert featuring the violinist and conductor Vladimir Spivakov, an autumn tour with Maxim Vengerov and collaboration with Anna Netrebko, Erwin Schrott and Jonas Kaufmann.

at Czech Center New York at the Bohemian National Hall
321 E 73rd Street
New York, United States

Mixed Messages: Marshall McLuhan and the Moving Image
Event on 2012-03-30 19:00:00

Mixed Messages: Marshall McLuhan and the Moving Image
The Medium is the Medium dir. Frank Barczyk, US, 1969, video, 20 mins, color Produced by WGBH-TV in Boston, The Medium is the Medium is one of the earliest and most prescient examples of the collaboration between public television and the emerging field of video art in the US. WGBH commissioned artists Allan Kaprow, Nam June Paik, Otto Piene, and Aldo Tambellini, to create original works for broadcast television. Their works explored the parameters of the new medium, from image processing and interactivity to video dance and sculpture. US dir. Jud Yalkut, US, 1966, 16mm, 16 mins, color A poetic documentary of the USCO multimedia group, a pioneer art and technology commune of which the filmmaker was an active part. US centers on the building of the tabernacle of The Church of The Living God. A spiritual and aesthetic meditation environment that was both unique and groundbreaking, the Church was incorporated as a free church in the State of New York in Garnerville in 1966. Turn Turn Turn dir. Jud Yalkut, US, 1966, 16mm, 10 mins, color, sound by USCO A kinetic alchemy of the light and electronic works of Nicolas Schoffer, Julio Le Parc, USCO, and Nam June Paik, this film is an exploration of the effect-versus-content thesis of Marshall McLuhan's 'the medium is the message/massage'. Turn Turn Turn, a film of the eye-shattering, flashing, rotating light sculptures programmed by USCO to Turn Turn Turn the popular song into a rich electronic fugue on the word NOW: Let's take the OW out of NOW; let's turn the NO out of NOW. – Film Quarterly Plus additional video works TBA.

at International House Philadelphia
3701 Chestnut Street
Philadelphia, United States

Subliminalezy – Subliminal Messaging Ezy
Windows Program That Runs In The Background, Flashing Subliminal Messages To Your Subconscious Mind, While You Work Or Play!
Subliminalezy – Subliminal Messaging Ezy

Lock My Drive
Lock My Drive Is A Simple And Convenient Encryption Tool To Protect Any Information On Hard Drive As Well As Usb Flash Drive. The Program Not Only Hides And Encrypts Your Files, It Conceals The Fact Of Their Existing.
Lock My Drive

Categories: Flash Programming

Mar 18 2012

Prague Philharmonia

By Chris

Prague Philharmonia
Event on 2012-03-21 20:00:00
PRAGUE PHILHARMONIA
with Jiří Bělohlávek, Conductor

Wolfgang Amadeus Mozart: Don Giovanni, overture
Leoš Janáček: Suite for Strings
Jan Václav Hugo Voříšek: Symphony in D Major

at Czech Center New York at the Bohemian National Hall
321 E 73rd Street
New York, United States

The Horrors – The Black Angels – Popscene DJs Nako & Omar
Event on 2012-04-16 20:00:00
This event is 18 and over

The Horrors

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To understand The Horrors you need to understand what it takes to be a free and independent spirit in 2012 -to do things in your own way and on your own terms at a time when nearly everyone is else is desperate to fit in and all too happy to follow. And that is exactly what The Horrors have been pulling off ever since they emerged from Southend on Sea back in 2005.

They burst onto the scene like the teenage mutant offspring of The New York Dolls and The Jesus and Mary Chain. They were a shock to the body-rock, doing everything rock n roll at its purest and prettiest is supposed to do– energise, excite, divide and polarise. The early Horrors shows were an explosive and vital reminder that great pop music is primarily made by the young, for the young. As a consequence they made a lot of people feel very old and tired indeed. Teenagers turned up to their gigs, blind with mascara and dumb with lipstick, often clashing with other kids who simply did not get what they were witness to. Gigs often turned into mini-riots: “I got a lot of things chucked at me,” says guitarist Joshua Third, “I never really understood it, because if I’d gone to see a band playing, like, really mental, frantic music I’d think: right on, listen to that.” The Horrors were that perfect entity – a band excited and besotted with the idea of playing rock n roll. And that lust for the new and the visceral proved to be fantastically infectious.

The Horrors’ debut album and its follow up are two of the most startling and thrilling in recent years. Strange House was a filthy-sweet attack on pop’s lazy, shallow, callow consensus, inspired by the carbon monoxide highs of the garage rock that brought the band together. Tom Furse’s dirty, dazzling synths, and the electrifying flashes of wilfully trashy, incendiary guitars road a thunderous railroad of a rhythm section courtesy of drummer Coffin Joe and Rhys Webb’s bass. Faris calls it “the sound of kids being really excited by new possibilities.” It had a necessarily polarising effect on those who heard it. “We didn’t set out with the intention of pissing people off,” explains Faris, “we just weren’t really that willing to do anything to avoid that happening.” So The Horrors wound up pissing off exactly the right people. It’s this attitude, which flies in the face of the focus group sounds that have laughably come to be known as indie, that makes The Horrors truly independent. And their next release, 2009’s Primary Colours, was emphatic proof of that.

Primary Colours was as dramatic a departure from the screaming insanity of Strange House, as Strange House had been from the overweening mediocrity it railed against. The aggression and melodies were all still present, but now they were buoyed up by a symphony of swirling organs and psychedelic guitar that lent the album a grand cinematic sweep. The critics loved it, recognising in its scope and ambition a band determined to make a lasting mark on rock n roll. It won album of the year awards, including the NME and was nominated for the Mercury Prize. “Well, it’s nice to get recognised because making records isn’t easy,” says Faris. “I don’t believe anyone who says it is.”

The Horrors new LP, Skying, takes up where Primary Colours left off and they began recording it the moment they stopped touring that album. They also decided to produce the record themselves in a studio they have built for themselves – something that has afforded them even more independence. “I wouldn’t call it a studio,” says Joshua, ‘It’s more like a lab.” And he’s not kidding. A studio is where you go to record, a lab is where you conduct experiments and Skying is the boldest yet of The Horrors experiments.

Both dense and expansive, insidiously poppy and stubbornly arty, Skying sounds like nothing else the band has ever done before whilst sounding entirely and fixatedly like The Horrors. “We wanted to find our own space and basically have our own workshop at our fingertips, to do whatever we wanted there,” says bassist Rhys Webb. “It just felt really natural and relaxed. And I actually think that kind of set the tone for the record. We felt quite relaxed as a band, writing together. There’s that element of freedom and space we had to do it in the music. When we’re working, we’re just trying to write better music and become a better band and make a better record than the last one. The songs on this record have kind of opened up: there’s more space and melody. It feels more focused.”

Skying is named after one of the bits electronic lab kit made by Joshua, who, unusually for rock n roll holds a first-class degree in theoretical physics. “The Grand Master Skying Mark 5 is a 20-stage phaser, It’s a bit hard to explain, but I can draw it for you. Imagine each one of those notches is a phaser, a sweeping effect. And the more notches you have, the more pronounced the effect. It’s pretty much beyond any phasing that you can do, ever.”

At the time of writing the album had reached number 5 in the album charts, outsold their previous albums in the first week of sales and produced a hit single ‘Still Life’ that was A listed at Radio One for 4 weeks.

So how can you best sum up this most original and inventive of British bands? How can one best understand and explain The Horrors? Well, to paraphrase Margaret Mead, never doubt that a small, thoughtful, passionate and committed group can change the world. Indeed, it is the only thing that ever has.

The Horrors release their new single ‘I Can See Through You’ on October 10th on XL Recordings.

The Black Angels

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It has been a busy summer for the Black Angels, with appearances at Bonnaroo and Fuji Rock in Japan, on MTV’s 120 Minutes and NPR’s World Cafe, and an Australian tour. The band also hosted their ever-growing Austin Psych Fest for its fourth and highest attended year yet. This tour follows an incredibly successful spring headlining tour, selling out over 20 of the dates. Earlier, the Black Angels set out on co-headlining tour with Black Mountain in support of Phosphene Dream, which BBC declared “rock album of the year, if anyone’s counting.” The New York Times recently caught the band headlining 4Knots Festival, noting the Black Angels “play psychedelic rock as if the 1960s never ended, and they are absolute masters of it.”

Phosphene Dream marks a huge leap forward for The Black Angels. It was produced and mixed by Dave Sardy (Oasis, Wolfmother) in Los Angeles, a far stretch from the cozy Austin studios that delivered their first two records. This new one presents a fresh take on the neo-Psychedelic movement they’ve been at the forefront of for years.

at Bimbo’s 365 Club
1025 Columbus Avenue
San Francisco, United States

Formation Actionscript 3 / Flash
Devenez Developpeur De Jeux Flash Avec La Méthode As3 Facile. Vous Saurez Utiliser Les Frameworks Puremvc, Pixlib, Créer Des Applications Full Flash Multi Langues Et Bien D’autres Encore. Méthode As3 Facile, Satisfait Ou Rembourse !
Formation Actionscript 3 / Flash

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Simple To Follow 3 Week Lighting Workshop That Teaches Basic And Advanced Flash Photography Techniques And Recipes.
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Prague Philharmonia

Prague Philharmonia