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New performances of Carl Philipp Emanuel Bach's six Hamburg Symphonies engagingly played by the Stuttgart Chamber Orchestra conducted by Wolfram Christ
Joseph Haydn (1732-1809) is often called the father of the symphony and it was certainly he that took the symphony from its modest proportions to the great four movement works that were later achieved.
However, it was Giovanni Battista Sammartini (c.1700-1775) who was among the first to write what might be termed concert symphonies, moving away from their origins as overtures. Composers as diverse as Luigi Boccherini (1743-1805), Gaetano Pugnani (1731-1798), Matthias Georg Monn (1717-1750), Georg Christoph Wagenseil (1715-1777), Florian Leopold Gassmann (1729-1774, Carlo d'Ordonez (1734-1786), Johann Baptist Vanhal (1739-1813) and Michael Haydn (1737-1806) all contributed in their time to the genre; some of whose symphonies approached the classical sonata form techniques.
At Mannheim there were new developments in orchestral style particularly by the striking use of dynamics. It was Johann Stamitz (1717-1757), Franz Xaver Richter, Carl Stamitz (1745-1801), Franz Ignaz Beck (1734-1809) and Ignaz Fränzl (1736-1811), that influenced the development of the symphony in the mid to late 18th century.
Two of Bach's sons, Johann Christian Bach (1735-1782) and Carl Philipp Emanuel Bach (1714-1788) also took to the form, J.C. Bach writing over 40 symphonies.
Although he composed much of his music for the keyboard, Carl Philipp Emanuel wrote some 20 symphonies of which his six Hamburg Symphonies feature on a new release from Hänssler Classic www.haenssler-classic.de performed by the Stuttgart Chamber Orchestra http://stuttgarter-kammerorchester.de conducted by their principal guest conductor Wolfram Christ www.wolframchrist.de
CD 98.637
Founded by Karl Münchinger in 1945, the Stuttgart Chamber Orchestra plays on modern instruments, but pays due regard to authentic performing style. Since the days of Münchinger the orchestra has been conducted by some of the leading conductors such as Trevor Pinnock, Helmuth Rilling, Frans Brüggen and Vaclav Neumann. Since 2006, Michael Hofstetter has been the orchestra's principal conductor.
In March 1768, leaving his post of harpsichordist to the Prussian King Frederick and already established as Europe's most famous keyboard player, Carl Philipp Emanuel, took up his new position as Kantor and Music Director in Hamburg.
Among the musical visitors was Gottfried van Swieten, Austrian ambassador to the Prussian Court for whom the composer, 1773, wrote his six Hamburg Symphonies, Wq.182 for string orchestra. van Swieten was responsible for these works being performed in Vienna where they later became a source of inspiration to Mozart.
Sinfonie in G major, Wq.182 No.1 (H.657) has many Haydnesque turns and dynamics in the Allegro di molto with crisp, lively playing from this small band. The fortepiano continuo may not be to everyone's taste though there is much historical evidence for its use in late 18th century orchestral music. Haydn was certainly known to direct his symphonies from the fortepiano when in London. The Poco adagio has nicely pointed up rhythms and is full of surprises. This orchestra have very much absorbed period practice in terms of tempi and vibrato which, with just eighteen players, makes a nicely transparent texture. The symphony concludes with a lithe and buoyant Presto.
CPE Bach again throws himself straight into the Allegro di molto of the Sinfonie in B flat major, Wq.182 No.2 (H.658) with playing of great verve, with fine control of dynamics in this music, full of invention and surprise. Bach certainly wanted to keep his audience's attention. The Poco adagio brings another fine slow movement where the theme us underlined by pizzicato basses. There is more, fine playing from the Stuttgart Chamber Orchestra in the playful Presto, full of little twists and turns and where the fortepiano, to my ears, merely adds to the enjoyment of the performance.
Sinfonie in C major, Wq.182 No.3 (H.659) opens with a direct, swirling, rising and falling theme in the Allegro assai before which there are more twists and turns to keep the listener on their toes. There is a terrific transition into the Adagio, a sad melody that, nevertheless, has occasional dramatic moments. An attractive, lightly rhythmic Allegretto concludes this work, where sections of the orchestra seems to answer each other creating an attractive effect.
A really fine and intricate theme opens the Allegro ma non troppo of the Sinfonie in A major, Wq.182 No.4 (H.660), one of Emanuel Bach's most attractive ideas. The Largo ed innocentemente has some lovely long drawn phrases with the Stuttgart players on fine form before the vibrant Allegro assai sweeps all aside.
The Allegretto of the Sinfonie in B minor, Wq.182 No.5 (H.661) brings more of Emanuel Bach's fine invention and varying dynamics, well caught by these players. An affectingly fine Larghetto, beautifully played by this orchestra, has some lovely string sonorities with the Presto providing more fine playing with incisive string phrasing.
The Allegro di molto of the Sinfonie in E major, Wq.182 No.6 (H.662) is another energetic allegro which receives crisp decisive playing with some terrific ensemble. There is a lovely flowing Poco andante, where the players give more lovely sonorities and an Allegro spiritoso where there is firm, rich playing in the incisive rhythms to bring this disc to an end.
The Stuttgart Chamber Orchestra are obviously in good hands with Wolfram Christ providing such lithe and exhilarating performances that bring many rewards.
Those who must have period instrument performances may look towards recordings such as those from Trevor Pinnock and the English Concert on Deutsche Grammophon. However, these new performances on modern instruments so engagingly played will appeal to many.
The recorded acoustic occasionally seems a little hollow but there is ample detail. There are informative booklet notes.
Coincidentally, CPE Bach is BBC Radio 3's Composer of the Week from next Monday (3rd March 2014 to 6th March 2014) www.bbc.co.uk/programmes/b006tnxf
Buchbinder and the VPO give magnetic performances in a live Beethoven concerto cycle recorded by Sony
The Vienna Philharmonic www.wienerphilharmoniker.at regularly holds subscription concerts on Saturday afternoon and Sunday morning. In May 2011 two unusual concerts were held on a consecutive Saturday afternoon and Sunday morning with cameras and microphones placed to record the special event.
Rudolf Buchbinder www.buchbinder.net was to direct the Vienna Philharmonic Orchestra from the keyboard in all five of Beethoven's piano concertos, playing the Second, Third and Fourth on the Saturday and the First and Fifth on the Sunday.
There would be no opportunity to repeat these works or correct any mistakes on the recording.
The results of this event have now been issued by Sony Classical www.sonymasterworks.com on a 3 CD set.
Rudolf Buchbinder and the Vienna Philharmonic have worked together many times before and he has toured these works extensively, something which shows to a great degree in the recordings of these two remarkable concerts.
That Buchbinder is a master Beethoven pianist is not in doubt given that he has already recorded an award winning Beethoven sonata cycle for Sony. So how would these live performances measure up?
The opening Allegro con brio of the Piano Concerto No.1 in C major, Op.15 starts with some fine phrasing as well as lovely dynamic playing from the Vienna Philharmonic Orchestra under Buchbinder's direction. There are some lovingly shaped orchestral phrases as well as some beautiful woodwind allowed to show through. When the piano enters there are light textures, clarity and a Mozartian sense of forward flow. There is a great fluidity in Buchbinder's playing showing the simple beauty of a Beethovenian scale. The cadenza is quite formidable.
There is a finely wrought Largo with a lovely orchestral rubato and Buchbinder extracting so much intricate detail from the piano part. He brings a sense of tension to the music that's so Beethovenian, with playing of real strength and poetry.
The rollicking Rondo. Allegro scherzando finale gets off to a terrific start with both Buchbinder and the VPO really throwing themselves into the music. Buchbinder's accuracy is spot on and he seems to be enjoying every minute. The second subject is beautifully dovetailed with the orchestra and there is such a feeling of spontaneity that would be difficult to achieve in a studio. This is totally infectious playing from all concerned.
Coming to the Piano Concerto No. 2 in B flat major, Op.19, in the Allegro con brio, Buchbinder achieves fine ensemble from the VPO with terrific dynamics alive to every little nuance. Buchbinder, when he enters, is crisp, lithe and so thoroughly musical, relishing Beethoven's many pianistic beauties, all the little phrases. He has such a sense of assurance and those little tensions that appear are wonderful. In the cadenza Buchbinder is particularly fine, with some lovely flowing lines.
There is a gorgeous, almost Brahmsian opening to the Adagio from the VPO. Buchbinder paces his entry especially well, allowing the music to unfold so naturally, with a fine sense of line and detail with pianist and orchestra perfectly attuned to each other. Both soloist and orchestra are supremely poetic in the hushed coda.
With the beautifully taut Rondo. Molto allegro Buchbinder's fluency and drive are impressive as is the way he phrases more intricate moments with subtle restraint and so much fine spontaneity – quite thrilling.
What a fine opening there is from the VPO in the Allegro con brio of the Piano Concerto No.3 in C minor, Op.37, drawing lovely taut, dynamic playing, full of anticipation. Buchbinder brings a full Beethovenian weight when he enters, direct even confrontational, yet so fluid, constantly making subtle little changes. Again it is remarkable how Buchbinder and the VPO are so at one. For all of this pianist's sense of authority in this work, he still brings a sense of discovery and, yes, spontaneity. In the quieter moments there is playing of such sensitivity, finesse and understanding. The cadenza is beautifully done, fluid, thoughtful and dynamic, quite masterly. And how he builds the tension in the coda is equally impressive.
The poetic Largo is beautifully conceived with the VPO, when they enter, creating a lovely flow with a gentle rubato. Buchbinder provides some absolutely gorgeous playing and, towards the end, those lovely little ascending notes are exquisite, yet so full of feeling.
The Rondo – Allegro shoots off with more spontaneous playing from Buchbinder, a real joy. Given that this performance could not be patched or redone, Buchbinder shows a complete lack of inhibition. There are some lovely passages from the VPO woodwind section as well as some lovely little orchestral touches generally. Buchbinder has a lovely touch, with his left and right hand lines weaving around each other brilliantly before the thunderous VPO timpani lead to the runaway coda.
Quiet, restrained opening piano chords open the Allegro moderato of the Piano Concerto No. 4 in G major, Op.58 before the wonderful VPO enter to build on the theme, drawing out all the individual orchestral lines. Buchbinder's subtle graduating of dynamics when he enters is wonderful. He has such a strong left hand with some wonderful left hand lower phrases. Throughout, the VPO strings provide such a fine sound yet, as the movement progressed I realised, for all the size of the orchestra, how chamber like Buchbinder and the VPO seemed. Buchbinder's pacing and phrasing is just so right and there is such a remarkable fluency and clarity as the movement progresses with a fine rubato, so subtly used. The cadenza is rhythmically quite enthralling and quite individual with some stunning playing and that fine left hand adding so much.
Buchbinder's sensitive opening to the Andante con moto is offset by the VPO's dramatic, clipped phrases in this magically conceived movement that builds the tension perfectly before the Rondo Vivace where the VPO enter quietly and Buchbinder joins gently before the dynamics increase. There are some lovely silken scales from this pianist and he throws himself into the music in the faster passages. The cadenza is again distinctive in its phrasing, giving a feeling of spontaneity before a terrifically robust coda.
What a fine opening to the Allegro of the Piano Concerto No.5 in E flat major, Op.73 'Emperor', the glorious VPO with Buchbinder full of power, clarity and fluency, building from quieter moments, full of tension, to full blown Beethovenian drama. The VPO are terrific in the little woodwind ensembles with Buchbinder adding so much poetry and suspense as he keeps the tempi back whilst playing individual little phrases, and those terrific descending piano scales are quite superb. Buchbinder's firm left hand shows through again and there are so many individual touches. There is a terrific lead up to the short solo passage where the intimate sound of the piano is suddenly, magically contrasted with the music that surrounds it.
The beautiful strings of the VPO glide us into the Adagio un poco mosso where, when the piano enters, it is pure balm. The way Buchbinder paces this movement recalls Beethoven's Mozartian roots. There are more lovely sounds from the VPO and the transition into the Rondo. Allegro man non troppo is perfectly done.
Buchbinder gives a terrific rhythmic bounce to his playing when the Rondo arrives, playing of joy and spontaneity with the feel of electricity running through it. The VPO really let themselves go and play their hearts out for Buchbinder right up to the coda.
Buchbinder is fully able to give virtuoso moments but he draws the listener more subtly by all the little insights and spontaneous inflections he gives. It is not merely tempo and volume that holds the listener; it is the sheer magnetism even in the quieter, poetic moments.
The live recording from Musikverein, Großer Saal is extremely good. The enthusiastic applause kept in but there is very little audience noise between movements. There are interesting booklet notes.
Our thanks must go to Sony for bringing us these special performances.
Even if you are not a fan of live recordings do give this set a try – I'm sure you'll be thrilled. Available on line for less than £14.00 it deserves a place amongst whatever other recordings of these timeless works are on collector's shelves.
Marek Štilec and the Czech National Symphony Orchestra provide fine performances of Zdenĕk Fibich's still somewhat neglected and appealing second symphony on a new release from Naxos
Zdenĕk Fibich (1850-1900) studied in Prague and at the Leipzig Conservatory as well as privately under Jadassohn. He spent periods in Paris and Mannheim before taking a post as a choir trainer in Vilnius. In 1875 he returned to Prague, working at the Provisional Theatre until becoming choirmaster of the Russian Orthodox Church.
After three years he gave up this post and, from 1881, worked exclusively as a composer and private teacher. His reputation as a 19th century Czech composer is second only to that of Bedřich Smetana (1824-1884) and Fibich's near contemporary, Antonín Dvořák (1841-1904).
Fibich was very prolific; his compositions including choral works, vocal works, seven operas, incidental music for the theatre, orchestral works including three symphonies, chamber works and works for piano.
Fibich's symphonies have already been recorded on Chandos by Neeme Järvi and the Detroit Symphony Orchestra. Naxos www.naxos.com have already released Fibich's First Symphony (8.572985) with the Czech National Symphony Orchestra www.cnso.cz conducted by Marek Štilec www.arcodiva.cz/en/agency/soloists/marek-stilec-dirigent-94
Now comes Symphony No.2 coupled with two very attractive works, At Twilight – Idyll for Orchestra and Selanka – Idyll in B flat major for Clarinet and Orchestra with the same forces as well as clarinetist, Irvin Venyš www.irvinvenys.cz
Fibich's works are far less Czech in flavour, the composer having been influenced far more by the German tradition. Nevertheless, the Allegro moderato of his Symphony No.2 in E flat major, op.38 (1892-93) does open with a little Dvořákian brass motif within the orchestra. The music also has certain rhythmic elements and a sweeping forward flow that recall Dvořák. The music soon builds to a climax, before falling back for the arrival of the second subject. The music works up to a number of climaxes with the rhythmically flowing main theme re-occurring before heading to the coda where both themes seem to achieve a resolution.
The Adagio is a beautiful movement that opens with a broad melody, not particularly Czech in nature, before a rhythmic idea arrives to contrast with the broad melody. The opening theme returns as the music reaches a short climax as does the rhythmic theme towards the coda that, nevertheless, ends in calm.
A repeated three note rising motif for trumpet opens the Scherzo: Presto as the orchestra is pointed up by pizzicato strings. More than anywhere else in this work the German influence comes to the fore. An emphatic passage rhythmically raises the dynamics before a country dance like tune is introduced highlighting the Germanic influences in this trio section. Timpani sound as the strings, then a bassoon herald a return of the faster opening theme. The trumpet sounds its opening rising notes as the music gains momentum as it dashes to the coda with some lovely interplay from the woodwind.
The opening of the Finale – Allegro energico hurtles forward with more of a Czech feel before soon slowing to a more thoughtful section. The music again livens up in the terrific melody, so full of Bohemian flavour. At times it sounds as though Fibich is weaving Germanic and Czech themes, so bound up are both elements. When the slow theme again returns there is a lovely woodwind passage. The livelier theme returns, full of energy, though this time broken up by slower, gentler passages before broadening and developing with some lovely slower passages, quite atmospheric in nature. The music eventually builds to a broad, grand climax before drawing together all the various stands to end in a grand coda, with a sudden repeat to catch the unwary.
This stands as a fine work in its own right, with a directness that is very appealing, but it is also important in the understanding of the development of Czech music.
At Twilight – Idyll for Orchestra, Op.39 (1893) rises from pondering basses as the orchestra fully joins in a wistful melody. As this melody is developed, Fibich seems to find full vent for his Czech melodic streak, perhaps because he did not have to worry about symphonic restraints. Soon the music changes to a livelier theme, light with pointed woodwind playfully dancing around the strings. Cellos, then flute arrive in an expectant motif, taken up by the full orchestra, leading the music back to the opening theme. A full blown romantic version of the theme follows with flute and harp bringing a lighter, sprightly feel, full of nature before the return of the romantic string led theme - so Czech. Later cellos and flute appear in an unusual but very effective passage, perhaps depicting birds. The full orchestra takes over as the flute continues its chirrups. There is a brief lull before the romantic melody returns. Cymbal stokes sound as the orchestra gently falls, the lower orchestral sound of the opening returning as the gentle coda arrives.
There is no doubt that this is a gorgeous work that really deserves to be heard.
Clarinetist Irvin Venyš joins the Czech National Symphony Orchestra for Fibich's Selanka – Idyll in B flat major for Clarinet and Orchestra, Op.16 (1879). The orchestra opens the work but is soon joined by the clarinet in a lovely flowing, gentle melody that has more of a Czech wistfulness, with the clarinet often playing more of a concertante role, adding colour and texture to the orchestral pallet. Venyš provides a lovely weaving of sounds around the orchestra in this most attractive work. After a brief climax the music returns to its gentle nature to end.
Marek Štilec and the Czech National Symphony Orchestra, which celebrated its twentieth anniversary last year, provide fine performances of this still somewhat neglected and appealing music. I found myself unable to get some of the tunes out of my head after listening to this disc. They receive a full and clear recording and there are informative booklet notes.
Tom Poster's debut recital for Champs Hill Records is a sheer joy
Tom Poster www.tomposter.co.uk won First Prize at the Scottish International Piano Competition 2007, the Ensemble Prize at the Honens International Piano Competition 2009, and the keyboard sections of the Royal Over-Seas League and BBC Young Musician of the Year Competitions in 2000.
Born in 1981, he studied with Joan Havill at the Guildhall School of Music and Drama, where he held a Postgraduate Fellowship, and at King's College, Cambridge, where he gained a Double First in Music.
Since his London concerto debut at the age of 13, Poster has appeared in a wide-ranging concerto repertoire of over 30 major works, including Beethoven with the Royal Philharmonic Orchestra at the Royal Albert Hall, Brahms and Ligeti with the Scottish Chamber Orchestra and Robin Ticciati, Chopin with the European Union Chamber Orchestra, Grieg with the Hallé at Bridgewater Hall and the China National Symphony in Beijing, John Ireland with the State Capella Philharmonic in St Petersburg, Rachmaninov with the BBC Philharmonic/Yan Pascal Tortelier and BBC Scottish Symphony/James Loughran, Schumann with the Atlantic Classical Orchestra in Florida, Beethoven Triple with Southbank Sinfonia/Vladimir Ashkenazy, and Scott Bradley's Cat Concerto with Aurora Orchestra/Nicholas Collon.
Poster features regularly on BBC Radio 3 as soloist and chamber musician, and appeared in both capacities at the BBC Proms in 2008, 2009 and 2011. He has appeared as guest expert in BBC Four's coverage of the Leeds International Piano Competition.
He has already made a number of chamber music recordings with such artists as Jennifer Pike, Doric String Quartet and the Aronowitz Ensemble on such labels as Chandos and Sonimage.
Tom Poster's debut recital for Champs Hill Records www.champshillrecords.co.uk entitled In Dance and Song, has just been released and covers a wide range of repertoire from Gluck to Gershwin by way of Schubert, Ravel and Bartok.
CHRCD075
It is with Gluck's Dance of the Blessed Spirits from Orfeo ed Euridice, in its transcription by Giovanni Sgambati, that Poster opens this recital providing fine clarity with silken, limpid playing in Gluck's melting theme, so sensitively phrased. An absolute delight.
Poster follows this with three pieces from Grieg's Slåtter– Norwegian Peasant Dances, Op72 with, again, his clarity and fine phrasing being applied to Bridal March from Telemark, rising to the more dynamic passages with a natural energy and power. Poster builds The Goblin's Bridal Procession at Vossevangen nicely with some beautiful little trills in this fine performance. The phrasing in Prillar from the Parish of Os shows how he is inside Grieg's rhythms with a sensitively judged coda.
With Bartok's Three Folksongs from the Csík District, BB 45B Poster goes straight into Bartok's style of piano writing with his beautiful pacing, phrasing and clarity, drawing so much from Rubato, as he does in L'istesso tempo, showing these to be miniature gems. I love the way he draws back slightly, to such great effect. Finally in these three pieces there is a sparkling Poco vivo, a delight, direct yet with subtle little inflections.
Schubert 's Impromptu in G flat major, D.899 No.3 has an intimacy that is often lacking, surely this is a quality that Schubert would have approved of. Poster holds the delicate ebb and flow beautifully, drawing some lovely colours from his instrument.
This pianist has a distinct approach to Chopin whose Polonaise-Fantaisie in A flat major, Op.61 receives a beautifully shaped performance that brings something of an epic stance This more direct and volatile approach opens up new aspects of the music. It is not at all without its poetic moments such as halfway through where these is a kind of powerful hushed restraint. In the fiery section towards the end, Poster shows what a fine technique he has.
Poster gives us three pieces by Kurtag from Jatekok (Games), bringing his sense of poetry to Hommage à Farkas Ferenc (2): Scraps of a colinda melody – faintly recollected with a bell like clarity, superb phrasing and pacing. Quite exquisite. Hommage à Farkas Ferenc (3): Evocation of Petrushka is superbly done with some fine percussion effects in this miniature. The extremely brief Hommage à Nancy Sinatra also has a fine touch to end these pieces.
It is Poster's disarming directness that brings so much to Ravel's Pavane pour une Infante Défunte, letting the music speak for itself, which it does to great effect. Again there is a subtlety in his poetic moments, so much more affective for this. It is lovely the way he allows the phrases to unfold. He has a beautiful touch that can, again, be heard in Ravel's Ondine (from Gaspard de la Nuit), lovely rippling phrases with subtle colourings as well as lovely broad sweeps of sound as the work develops. An absolute joy.
As if we were not already aware of his versatility, Poster shows that he excels in his Schumann too, with Two Songs. Widmung has a lovely rubato and such a singing quality. His light touch shows again in the central section that is quite stunning. Frühlingsnacht, with its odd little halting, staccato phrases and rhythms, is beautifully done.
If there was any doubt as to Poster's virtuosic strain, then this performance of Stravinsky's La Semaine Grasse (from Petrushka) will prove his credentials. This is a tremendous performance, shifting between Stravinsky's varying moods and tempi with ease. There is virtuosity, poetry, sensitivity, sheer panache, with this pianist alive to every little twist and turn. Poster's superb control of dynamics and overall structure makes this a formidable achievement.
Gershwin's Someone to watch over me (from Oh, Kay!), in an effective transcription by Tom Poster, proves to be the perfect 'encore' with Poster's silken, beautifully phrased playing.
It is impressive how Poster moves from composer to composer with consummate ease. Poster seems to draw the listener into his concept of how these pieces should be played. This recital is a sheer joy.
The recording is clear and with plenty of space around the piano and there are informative booklet notes by Tom Poster.
Champs Hill, can we please hear more from Tom Poster?
Kalevi Aho's Fifteenth Symphony together with Minea (Concertante Music for Orchestra) and Concerto for Double Bass and Orchestra in first rate performances on a new release from BIS
Surely Kalevi Aho (b. 1949) must be one of the greatest living symphonists of our time. http://composers.musicfinland.fi/musicfinland/fimic.nsf/WLCBND/aho+kalevi
http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=2878
I heard the premiere of his 15th Symphony at Manchester's Bridgewater Hall, England, in March 2001 and was greatly impressed. Now from BIS Records www.bis.se comes a recording of the fifteenth symphony together with Aho's Minea (Concertante Music for Orchestra) and Concerto for Double Bass and Orchestra.
This new release features the Lahti Symphony Orchestra www.sinfonialahti.fi conducted by Osmo Vänskä www.harrisonparrott.com/artist/profile/osmo-vanska (Minea), Jaakko Kuusisto www.jaakkokuusisto.fi (double bass concerto) and Dima Slobodeniouk www.dimaslobodeniouk.com (Symphony) with the double bass player Eero Munter www.sinfonialahti.fi/orkesteri/kontrabassot/en_GB/kontrabassot_munter
Minea (Concertante Music for Orchestra) (2008) was written for the Minnesota Orchestra to highlight all members of the orchestra in a work that could be used as an opening work at tour concerts and first performed in Minneapolis under their then music director Osmo Vänskä.
Minea opens with ringing brass and woodwind overlaying a hushed side drum before the fuller sonorities emerge with the wind ensemble weaving an eastern sounding melody. As the music progresses the wind motif becomes ever more florid though often quietening in the process. The music eventually begins to quicken and becomes increasingly dramatic with massive drum strokes before leading to a quieter section with ruminating in the basses and quietly thundering drums. The music builds dramatically, but yet again falls back to a quiet section with a distinctive two note motif so typical of Aho. Slow rhythmic drumming is joined by the contrabassoon, as the woodwind bring a fascinating texture of sounds with so many details being woven into the music in this magical section. As the music continues, the orchestra plays a flowing melody around the insistent rhythm, slowly and steadily building in power until it reaches a peak with stabbing orchestral phrases. When the music quietens, there are frantic, scurrying strings decorated by woodwind that eventually lead the strings on to an even faster section with the percussion re-entering as the music recklessly dashes headlong to a tremendous coda for full orchestra.
This is a terrific work that should find a place in concert programs. The Lahti Symphony Orchestra under Osmo Vänskä give a first rate performance.
Concerto for Double Bass and Orchestra (2005) was premiered by the soloist on this disc, Eero Munter, with the Lahti Symphony Orchestra in 2005. It is in five movements played without a break.
The Moderato, Passionato opens with woodwind and strings in a scurrying motif that leads upwards. The solo double bass enters providing a bass line under the orchestra that enters and leaves. As the double bass continues to ruminate, the various sections of the orchestra intersperse, adding their voice. Soon the double bass moves to its highest register as the orchestra continues to sporadically have its say, but eventually returns to its darker, lower notes. However, it is the orchestra that leads into Cadenza I (Pizzicato) where the double bass plays only pizzicato with Eero Munter extracting some intoxicatingly atmospheric sounds from his instrument, showing himself to be a virtuoso, in this tremendously challenging but superbly written movement that has so many subtleties of colour and texture.
Presto – Tranquillo – Presto brings motoric strings together with flurries of woodwind in light and transparent music. When the double bass appears it hardly notices, blending in with the orchestra into the highest registers, superbly done by Munter. The opening motif, motoric strings and woodwind flourishes, re-appear more violently before a slower section where the double bass growls against a dark orchestral accompaniment in a melancholy slow melody. Eventually the motoric strings arrive again with woodwind, brass and percussion in a dramatic section where, eventually, the music seems to collapse in on itself before going straight into Misterisoso (Cadenza II) with delicate percussion and short orchestral chords as the double bass provides strange harmonies and plucked lower notes.
Slowly a simple little tune for double bass is intoned but never develops, merely continuing with delicate harmonic slides before fading away into Andante – Allegro ritmico where a lovely woodwind melody is soon joined by the double bass. The theme develops, becoming more complex, as the various parts of the orchestra add little variations. Slowly the music rises to a climax for orchestra before dropping away to allow the soloist to be heard beneath the woodwind. In the stillness, the soloist knocks rhythmically on his instrument, accompanied by percussion, as the sound of the bullroarer http://dictionary.reference.com/browse/bullroarer arrives and the music fades to a hushed coda.
Aho's writing is inspired and technically brilliant, as is Munter's playing. It is Aho's ear for colour and texture, beautifully brought out by Jaakko Kuusist and the Lahti Symphony Orchestra that gives us such a fine concerto.
Symphony No.15 (2009-10) was a joint commission from the BBC Philharmonic Orchestra and the Lahti Symphony Orchestra, receiving its first performance in Manchester, England when Juanjo Mena conducted the BBC Philharmonic. Here Russian conductor, Dima Slobodeniouk conducts the Lahti Symphony Orchestra.
Nebbia opens with shifting string harmonies interspersed by the tinkling of bells and high pitched percussion. Soon the celeste adds its bright sounds before woodwind enter, conjuring up an icy landscape through the mists that give the movement its title. A brass motif appears as the mists try to clear, then a rapid clarinet motif is soon joined by other woodwind. The strings still swirl as though penetrated by light before brass enter over the strings providing a firmer sound that is interspersed by the rapid woodwind motif. There is a terrific moment as drums and percussion enter to point up the sound as it hurtles forward. The music eventually quietens as an oboe enters together with gentle harp flourishes in a glorious passage, intensely atmospheric that leads to Musica bizzarra with a repeated ascending theme for woodwind and celeste. Woodwind and brass enter then various hand drums (bongos, congas, darbuka and djembe) as the rhythmic nature of the music increases, slowly gaining in tempo and dynamics. Occasionally the music calms a little but the momentum is always maintained, building to quite muscular, intense climaxes until eventually the music calms, the hecklephone adds its distinctive sound joins and the movement ends peacefully.
Celeste and glockenspiel open Interludio in a delicate, mysterious mood underlaid by lower strings. The movement adds the sounds and textures of the bell tree, marimba and crotales as the music continues with sudden loud orchestral outbursts. A brass motif briefly enters, then the string sonorities from the first movement before rapid strings and brass interrupt the calm. Low strings, percussion and celeste lead into Musica strana where a swaying motif for woodwind, a lightly, subtly dancing theme, is soon joined by the strings. Brass and woodwind arrive over rhythmic percussion before the strings, then brass lead the orchestra on in increasingly dynamic music. A saxophone is heard as the music calms a little in a pulsating string theme. The music rises again and one can hear the sound of an Arabian tambourine before the music develops through quieter little passages first for woodwind, then flute. The music soon rises, building again in drama, in a boisterous central climax.
Many more orchestral details are developed in this constantly changing movement, brilliantly orchestrated, before it builds again and the music starts to rush headlong to its wild, breathless coda, just punctuated by woodwind motifs before the final outburst.
This is another fine symphony from this master composer, full of invention, wonderful colours and textures and, of course, rhythmic power.
Dima Slobodeniouk and the Lahti Symphony Orchestra are on top form and the recording is up to BIS' usual high standards. There are excellent booklet notes by the composer.
Piano works of real depth and substance by Marcus Blunt, finely played by Murray McLachlan on a release from Divine Art's Diversions label
Marcus Blunt (b. 1947) www.scottishmusiccentre.com/members/marcus_blunt/home was born in Birmingham and from around the age of nine had piano lessons from his father whilst making his first attempts at composition. He went on to study composition at University College of Wales, Aberystwyth before settling in Derby as a teacher of woodwind instruments. In 1990 he moved to Scotland where the Dumfries Music Club appointed him as their Hon. Composer-in-Residence.
In July 2002 he was a featured composer at the Victoria International Arts Festival, Gozo (Malta), in 2004 he was commissioned to write a Fanfare to open the Dumfries & Galloway Silver Arts Festival and in 2009 his Two Serenades for violin, clarinet, cello & piano were chosen for inclusion in the London Schubert Players' EU-funded Invitation to Composers project, with performances in Edinburgh, Paris and Namsos, Norway.
Marcus Blunt's compositions include choral works, orchestral works including two symphonies, chamber works, works for brass, instrumental works and piano works and have been performed internationally by artists such as the Philip Jones Brass Ensemble, the Joachim Piano Trio, and Kathryn Stott.
Divine Art Recordings www.divine-art.co.uk have just released, on their Diversions label, a recording of Marcus Blunt's piano music played by Murray McLachlan www.murraymclachlan.co.uk , previously issued by Dunelm Records in 2006 and which includes his three piano sonatas.
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The Life Force (Sonata No.3) (1988 rev. 1994) has a tonally free flowing opening that leads to a slightly more tentative section as the music subtly develops in this attractive seven minute sonata. The sonata builds to an intense, flowing climax towards the end, with music of some virtuosity before sudden spread chords conclude the work.
This is a beautifully constructed sonata that is immensely enjoyable.
Seven Preludes (1967-79) commence with Passacaglia which works up from a simple theme through a slow build-up of contrapuntal layers back to its opening simplicity. Theme has a broad motif repeated, rising upward before the Variation (Jiglet) provides a lighter, dancing variation of the theme. Homage to Scarlatti has a freedom within Scarlatti's model that is most appealing, a really enchanting piece as it dances around. Homage to Scriabin I has a gently swaying melody that is developed around a left hand melody and is something of a little gem. Homage to Scriabin II brings us to Scriabin's later more mystic style, soon building in drama and clashing chords. A short but very evocative piece. 'Adieu' is a rather unsettled farewell that acts as a dramatic coda to the set.
A visit to Iona inspired the Iona Prelude (1982) and the following Iona Caprice (1982). A rising motif opens the Prelude, which is repeated in various guises in this elusive but appealing piece. The Caprice is a more florid miniature that ends abruptly.
Sonata No.2 (1977 / 1998 rev 2006) opens with Elegy where slow chords move the music steadily forward as a motif for right hand weaves around the chords. The music becomes more hesitating and darker with hints of John Ireland in his more mystic moments. It begins to rise up slowly, becoming more impassioned before quietening and becoming more peaceful to end. A halting little motif opens the Scherzo that eventually becomes freer, though the opening motif keeps re-appearing and, indeed, re-appears at the end. Fantasia has a slightly dancing quality that is soon over shadowed as the music becomes sadder. The dancing theme re-appears intermittently but is always overshadowed by music of a more serious vein. There are Scriabinesque bold intervals as the music rises in passion. The dancing theme appears again before a decisive coda.
This is another fine sonata brilliantly played by Murray McLachlan.
The Three Nocturnes were written between 1987 and 2001. Malta Nocturne seems to use similar intervals as the Fantasia of the preceding sonata, perhaps a Blunt trademark. This is a particularly lovely little piece, so sensitively played by Murray McLachen. The gentle November Nocturne, a birthday gift for a friend, based on the musical letter derived from his name, grows in strength before its quiet coda. Likewise, the Nocturne on the name FRAnk BAyFoRD, a slightly more extended piece, was a sixtieth birthday present for a friend, which grows organically from the note sequence that uses the conventional note letters as well as the Tonic Sol-Fa names (e.g. R = Ray).
Marcus Blunt's Sonata No.1 (1972 / 2006) is in two movements, a Fantasia (Allegro), a fast and forward flowing with the composer's distinctive intervals before falling to a quiet end on three repeated chords and Variations (Adagio), which seems to rise out of the Allegro and uses all twelve notes of the scale creating a sense of mystery and uncertainty before moving through a range of emotions and musical motifs including repeated, insistent chords that add drama and intensity, lovely flowing, rippling passages that lighten the mood as well as virtuoso chords before quieting darkly with low chords at the end.
This is a work of real depth and substance, beautifully constructed and given a fine performance by Murray McLachlan.
Prelude on a fugue theme by J S Bach (2000) was taken from Bach's Prelude and Fugue in D major BWV 874 and written as a tribute to Bach in his 250th Anniversary year. It is tiny but very effectively done in the way Blunt works around the theme.
Finally we come to Three Fantasies (1992/2001/2006) all derived from the musical letters of the respective names. The first, Fantasy on SCRiABin has a wonderfully flowing theme that is created from the note sequence and oddly reminiscent of Scriabin. It is played with terrific sensitivity and a lovely touch with delicate shadings. It is a striking work that took second place in the Purcell Composition Prize in 1995.
The Fantasy on the name GABRiEL FAURÉ is another fine, flowing work on that, nevertheless, has an underlying strength. It was written for that fine pianist, Kathryn Stott who is something of a specialist in Fauré's piano music.
The last of these fantasies is a Fantasy on the name MURRAy MCLaCHLan written for Murray McLachlan for this recording. It is a fine piece that weaves a lovely tapestry around the underlying musical note sequence, building to a dramatic coda with some fine playing from McLachlan.
Blunt is extremely lucky in his pianist Murray McLachen who does so much to bring out all the beauties and attractions of these works. The recording is excellent and there are booklet notes by the composer.
Francesco La Vecchia and the Orchestra Sinfonica di Roma give excellent performances of attractive orchestral works by Alfredo Catalani on a new release from Naxos
Naxos www.naxos.com are doing much to raise the profile of lesser known Italian composers with their 19th/20th Century Italian Classics series with composers as diverse as Franco Alfano, Alfredo Casella, Franco Ferrara, Giorgio Federico Ghedini, Luigi Mancinelli, Saverio Mercadante, Goffredo Petrassi, Ildebrando Pizzetti, Nino Rota, Giovanni Sgambati, and Camillo Togni.
Alfredo Catalani (1854-1893, who is the subject of a new release from Naxos, is probably best remembered for his operas Loreley (1890) and La Wally (1892), though even those works will not be familiar to many people. Born in Lucca, Italy, Catalani studied at the Conservatory of Milan under Antonio Bazzini (1818-1897). He had support from Toscanini but his premature death from tuberculosis cut short his career.
As well as opera, Catalani wrote a number of orchestral works of which five appear on this new disc, including two world premiere recordings. The Orchestra Sinfonica di Roma www.orchestrasinfonicadiroma.it is conducted by their Artistic and Musical Director, Francesco La Vecchia www.francescolavecchia.com/ing/rassta.htm , who have been responsible for many of the performances in this series.
The first work on this new disc is the Symphonic Poem, Ero e Leandro (Hero and Leander) (1884) based on the Greek myth of Hero, a priestess of Aphrodite, who dwelt in a tower in Sestos on the European side of the Dardanelles, and Leander, a young man from Abydos on the opposite side of the strait. Hero lights a lamp at the top of her tower to guide Leander's way but after making love to her he is eventually drowned. This work was first performed at La Scala in 1885.
The symphonic poem opens with repeated orchestral chords before woodwind and brass appear in a rising and falling sea motif that is developed by the rest of the orchestra. There is a transparency of texture reminiscent of Mendelssohn as, slowly the music develops becoming powerful and even violent before subsiding with a lovely woodwind passage. There are hints of Wagner but Catalani seems to have forged his own style out of many varied influences. Eventually the music comes to a sudden halt before there is a horn call and timpani strokes indicating the death of Leander and the orchestra quietly moves on, soon becoming enlivened and building to a stormy vivacissimo section that leads to the emphatic coda with pizzicato strings to end.
Catalani's short Scherzo (1878) was first performed in Paris in 1878. Strings open this happy, light and transparent work, full of varying rhythms that are most attractive.
The even shorter Andantino (1871?) is opened by an oboe, soon followed by a flute in this distinctive work that shows, despite the Wagnerian tonal pallet of Ero e Leandro, how far from the weightier German orchestra he was. There are light and transparent textures with a lovely, flowing melody. The work builds to a climax midway and in the coda there are some lovely orchestral textures woven by Francesco La Vecchia and his orchestra.
Contemplazione (1878) was also performed in Paris and opens with a lovely flowing melody for strings with a subtle pulse added by the double basses. The way Catalani shares the theme around the orchestra adds so much colour and texture. Part way through, the music builds in passion and drama before falling back to the restrained nature of its opening. This is a beautifully structured work.
Il Mattino 'Sinfonia romantica' (1874) is one of three symphonic works by Catalani. At just under fifteen minutes, Catalani's single movement symphony has larger ambitions than the preceding works on this disc. Opening with hushed strings, oboes and clarinets enter as a swaying theme gradually gains momentum. The orchestra develops the theme over the tremolando violins but, before long, a livelier section arrives, more positive in feel. There is a little rising motif that leads to a quieter section but soon, aided by brass, the music grows more dynamic before falling to a broader melodic idea. As the work progresses, Mendelssohn is again brought to mind in the writing for strings. There are a number of little climaxes punctuated by attractive orchestral detail before the music finally builds to a sustained climax over tremolando strings leading to the coda where two pizzicato notes conclude the work.
Francesco Vecchia and the Orchestra Sinfonica di Roma are excellent and do much to add to the attractions of this disc, which is nicely recorded at the OSR Studios in Rome. There are excellent booklet notes making this an interesting and attractive release well worth exploring.
Tenebrae, under their director Nigel Short, are magnificent in Russian choral works on a new release from Signum Classics
Artistic Director of Tenebrae www.tenebrae-choir.com , Nigel Short, began his musical life as a chorister at Solihull Parish Church going on to study singing and piano at the Royal College of Music in London. He was a member of The Tallis Scholars, Westminster Abbey and Cathedral choirs and The King's Consort before going on to concentrate on work as a soloist in Oratorio and Opera. He sang many roles in opera productions all over Europe and for ENO and Opera North in the UK. In 1993, Short joined the world-renowned vocal ensemble the King's Singers. Whilst touring the world with them he began to seriously consider the possibility of starting up a new choral group which would combine a larger force of singers with movement around the performance venue as well as considerations of lighting, ambience, time and space. It would not only mean that the singers were more physically involved in the performance but also that the audiences could become caught up in the experience.
Thanks to like-minded musicians, singers and friends, Tenebrae was formed in 2001. Since then, Tenebrae have performed in many of the world's most prestigious music festivals, in USA, Bermuda, Spain, Switzerland, France, Germany and the UK.
Nigel Short has conducted several of the world's finest orchestras alongside Tenebrae both in concert and in recordings including the London Symphony Orchestra, the Chamber Orchestra of Europe, the Royal Philharmonic Orchestra, the English Chamber Orchestra and, in Baroque repertoire, the English Concert. He has also made recordings for EMI Classics, Warner Classics, Decca Records, LSO Live and Signum Records.
It is Signum Records www.signumrecords.com that have just released Russian Treasures, a recording by Tenebrae of Russian Church music by a range of composers. Tenebrae have already recorded Rachmaninov's Vespers for Signum (SIGCD054) back in 2005 so they are well versed in such repertoire.
Bene Arte
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This new disc opens with Alexander Gretchaninov's (1864-1956) Nïne silï nebesnïya (Now the powers of Heaven) from his Liturgy of the Presanctified Gifts. Nikolai Danilin, conductor of the Moscow Synodal Choir may have commented, before the first performance of Rachmaninov's Vespers, that 'Russian basses are as rare as asparagus at Christmas, but Tenebrae have no such problems and start with some pretty impressive deep bass voices before rising up through the choir in this impressive piece.
Sergei Rachmaninov (1873-1943) features heavily on this disc and rightly so. Here we have his Nïne otpushchayeshï (Lord, now lettest Thou) from his Vespers or, more correctly, All Night Vigil. Nicholas Madden (tenor) soars out of the choir as this lovely setting moves forward and gathers into some fine textures. This gem was a piece that Rachmaninov wanted played at his own funeral. Tenebrae seem very much inside the Russian and, in particular, Rachmaninov's idiom with some beautiful low bass notes at the end.
The little known conductor and composer, Nikolay Golovanov (1891-1953), one time conductor of the Bolshoi Theatre in Moscow, wrote his Cherubic Hymn Heruvimskaya pesn as his Op.1 No.1. It is an attractive piece that has a gentle flow, beautifully realised by this choir.
More Rachmaninov comes in the form of his Priidite, poklonimsia again from his All Night Vigil where the joyful Russian sounding voices exclaim Come let us worship with superb control and balance of these fine voices.
Rachmaninov's Heruvimskaya pesn (Cherubic Hymn) is from his earlier Liturgy of St John Chrysostom. The sopranos open with an angelic sounding Let us who represent the Cherubim. Throughout, there is a well-balanced weaving of the voices, including those lovely basses, in this most appropriate of acoustics, the Church of St Augustine, Kilburn, London. When the choir sound out halfway through they are magnificent, as is the superb ending.
Also from Rachmaninov's Liturgy of St John Chrysostom is a gentle, rich, powerfully written setting of Tebe poyem (We hymn Thee) with Tenebrae providing simply gorgeous vocal textures and a beautifully sensitively and meltingly emotional core.
Golovanov's Slava Ottsu (Yedinorodnï) (Glory to the Father (Only begotten)) has a similarly gentle, beguiling texture, with the same lovely flow as his Cherubic Hymn. Nigel Short draws lovely sounds from his choir, with a terrific central climax.
Pavel Chesnokov (1877-1944) was a choral conductor and teacher who composed prolifically for choir and is represented on this disc by three works, firstly Svete tihiy (Gladsome light) where the sopranos dominate, sounding so well in this acoustic, in this short but affecting piece, beautifully sung. The second work by Chesnokov is his Tebe poyem (We hymn Thee) from the Liturgy of St John Chrysostom where, this time, deep basses create a rich dark opening, full of Russian atmosphere before the choir unfolds gentle textures in a work that shows this composer to be a gifted choral writer.
Viktor Kalinnikov (1870-1927) was the younger brother of the better-known composer Vasily Kalinnikov (1866–1901). He, again, seems to have been prolific as a choral composer and on this disc is represented by just one work, his Svete tihiy (Gladsome Light) a pretty direct and straightforward setting, but none the less attractive for it.
Rachmaninov returns with Bogoroditse Devfo (Rejoice, O Virgin (Ave Maria)) from his All Night Vigil, a glorious, restrained, gently rising and falling setting before his Blazhen muzh (Blessed is the man) again from his All Night Vigil with a lovely opening for sopranos and tenors before the whole choir join with a lovely blend of voices, so finely paced and balanced – a wonderful performance of this, the most extended piece on this disc.
The beautifully written Otche nash (Our Father) from Rachmaninov's Liturgy of St John Chrysostom, where the composer uses typical Russian chant, beautifully and gently overlaying the voices in a performance that could not be bettered.
The third and final work by Chesnokov is his Heruvimskaya pesn (Cherubic Hymn) a gentle piece tending to favour the upper voices. Golovanov's Otche nash (Our Father) brings the richness of the whole choir to great effect, a kind of restrained strength, gloriously done.
Pyotr Ilyich Tchaikovsky (1840-1893) has just one work performed here, a curious choice, his Legend (The Crown of Roses) from his Sixteen Songs for Children Op.54 sung in the English adaptation for unaccompanied choir that he made for a performance in New York. It comes as something of a surprise after the atmospheric textures of the preceding works but is finely sung by this choir.
Nikolay Kedrov (1871-1940), formerly an operatic baritone, went on to compose liturgical music including the piece performed here, Otche nash (Our Father), a work that shows how simplicity can be very effective with his gentle, richly textured setting. A lovely work.
To end this recording we have Rachmaninov's Vzbrannoy voyevode (To Thee, O Victorious Leader) again from his All Night Vigil, a joyous conclusion, wonderfully sung.
Nigel Short has selected works that make a fine contrast for this terrific disc.
The recording is excellent and there are full texts and English translations, as well as excellent notes by David Nice. All in all, a most recommendable disc.
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Watch finances today, Aries. When it comes to money, other people's attitude could make you angry. Creatively, you're about to go into overdrive. Your output could be phenomenal, but ask yourself: at what price? Solutions come later in the day. A brilliant idea is a breakthrough tonight. Call me to hear when your emotions could get out of hand.
You're determined to make your mark today, Taurus. Although you can get stacks done given this burst of energy, be sure to channel it constructively. Beware accidents in the home, or anger within the family. Calm is restored this evening and an unexpected event delights. Call me to hear when to avoid a communications glitch.
Think it but don't say it today, Gemini! Neighborhood matters, local affairs, communications and travel could jar. Go easy this afternoon and avoid rushing around like a bull in a china shop. Home and family keep your feet on the ground nicely tonight. Call me to hear when travel could be a problem.
Though you're sorting out your finances and shelling out a load of dosh, nevertheless the stars are pointing to an upturn in your fortunes – and especially where romance is concerned. Take that call, make that trip, arrange that holiday this evening. Tonight's plans are exciting. Call me to hear when you need to think before you spend!
Someone is cracking the whip today. Don't expect any sympathy from bosses, officials or people in power. Keep your head down, your sleeves rolled up and your shoulder to the wheel. By this evening, you'll be satisfied with your output. Finances are surprisingly good. Call me to hear when to avoid a clash of personalities.
Travel and long-distance affairs are tricky today. Planning a night out? If you're already spoken for, your partner may spring a surprise. Single? Someone you meet could bowl you over. It may not be your usual type, but give it a go. You may be delighted with what you find. Call me to hear when you must pay attention to the fine print.
A financial or business matter is flashing a red light in your solar chart today, Libra. It's a warning that whatever dealings you have in hand could be untimely, unsuccessful or unwise. Domestic affairs and family life is extra lively and noisy – and rather tiring tonight. Call me to hear when that extra effort is worth your while.
There's quite a bit of jostling going on between you and partners, colleagues or clients. The boss may be on the warpath, officials inflexible or people generally losing their rag. An unusual conversation, someone you meet, a film you see or a program on tv opens your eyes. Call me to hear when to avoid a stand-off situation.
'More haste, less speed', Sagittarius. Make that your mantra today since the planets are warning you not be impulsive or take undue risks especially at work, or with machinery, sharp or hot materials. Calm the pace and leave the excitement for this evening. Call me to hear when you make that important breakthrough.
If a purchase, order or deal frustrates or disappoints you today, try online. The same goes for any information or advice you might be seeking. News out-of-the-blue takes you pleasantly by surprise this evening. Put in that call to your in-laws or to friends faraway. Call me to hear when it's time to break out of that rut.
Uh-oh! Someone's 'me-first' attitude will get right up your nose. Take it all with a pinch of salt or you could end up crossing swords with a partner, relative or workmate. Tensions are eased away this evening. You may not get an early night – but you could try. Call me to find out when you'll hear the words you've been waiting for.
Are you going over the top, Pisces? You're certainly putting excessive effort into whatever you're doing. Perhaps a little too much! Try not to let that competitive edge urge you to drive faster, speak out of turn or push yourself in front. People just won't like it! Call me to hear when rushing could lead to an injury.


text:
Q: How to extract texture from vtk for use in blender? I have a mesh and texture information in a .vtk file. What would be the best way to import both(mesh info+ texture info) into a blender?
Currently, I am able to extract the mesh information only using slicer by exporting to .obj file but I do not know to export the texture info.

A: ParaView should be better than Slicer for converting .vtk into other formats.

redpajama_set_name: RedPajamaStackExchange


Miss Posh Life™: Possessed: Sigerson Morrison Boots!
Gilt how do I love thee, let me count the ways. Sigerson Morrison over the knee boots what a find. If you know anything about Gilt you know they were a deal. But believe me they were infinitely worth it at full price. I will wear these with sweater dresses, leggings and of course jeans. Stay Posh!
Look for me swashbucklin at a posh engagement near you!
pretty and dangerous! Alright now!


text:
Serial participant: Rakhi Sawant (right) in 'Pati, Patni aur Woh,' a reality show on NDTV Imagine. She has done around 10 such shows.
Dose of reality spells big money for TV actors
5 min read . Updated: 22 Oct 2009, 12:43 AM IST Priyanka Mehra
Reality showsTV actorsRakhi SawantSynergy Adlabs MediaTanaaz CurrimBakhtiyar IraniBalaji TelefilmsBigg BossEndemol IndiaTAM Media ResearchAudio storyPodcastHome
New Delhi: Even before she decided to find a groom for herself on network television, Rakhi Sawant had become a familiar figure across 80 million Indian households that have access to satellite TV. She had established herself as the queen of controversy-ridden reality shows such as Bigg Boss 1, Nach Baliye 3 and Yeh Hai Jalwa. Rakhi Ka Swayamvar merely reinforced and strengthened this position. The lady and her beau are now busy being parents on another reality show called Pati, Patni aur Woh.
The Bollywood fringe-dweller's decision to participate in close to 10 reality shows in less than two years is understandable. The performances have allowed her to cast off the "item girl" tag, besides offering a steadier income.
Listen to an interview with PN Vasanti, director of New Delhi-based Centre for Media Studies, about why reality TV has become so popular in India
A senior executive from a leading general entertainment channel (GEC), who has worked with Sawant on one such reality show, says she earns Rs60-80 lakh for a big-budget Rakhi Ka Swayamvar kind of show that lasts 10-13 weeks. In contrast, she stands to earn around Rs20 lakh for an item number—a cameo in a song aimed to increase a movie's chance of success—that could take four-five days to shoot.
"It's not easy to get more than two item numbers in a year," says Manoj Prabhakar, Sawant's manager.
Sawant is not alone in having made a career out of reality TV. With instant fame and money guaranteed, lesser celebrities have latched on to reality TV as a career option.
"We're talking about serial reality show participants here, or those who were once big as soap stars, but need to keep their currency alive," says Siddhartha Basu, chairman and managing director of Synergy Adlabs Media Ltd, a television production firm.
B-listers and models, including Kashmira Shah, Mona Singh and Aditi Govitrikar, have also been on multiple reality shows. An executive at a major production company says networks pay such actors approximately Rs10-12 lakh as a one-time signing bonus for reality shows, an additional Rs2-3 lakh per week for the duration of the show. These actors are also paid for the time they spend rehearsing. Depending on the time such participants last on a show, they end up earning anywhere between Rs15 lakh and Rs30 lakh in less than three months.
Sawant shrugs off the suggestion that she is on reality TV for the money. "I'm not chasing reality shows. Viewers want to see me and producers want me on their shows."
Prabhakar, Sawant's manager, says that her TV rate has risen threefold since her first successful tryst with reality TV on Bigg Boss in 2006.
Also Read The reality of reality TV in India
Model and actor Nauheed Cyrusi, who participated in Khatron Ke Khiladi 2 on Colors, says reality shows pay better than films. Other than making a brief appearance in films such as Main aurr Mrs Khanna, she has acted in Lakeer, Anwar and Life Mein Kabhie Kabhiee. "There is more money in television, especially reality shows, no two ways about it. To make money in films, you ought to be a big Bollywood star," she says.
"If I want more money, I'd do reality shows," says the 27-year-old Cyrusi.
TV popularity has adventitious benefits as well. For a music video or a live performance, a participant gets a one-time fee that takes into account two-three days of rehearsals, says Akhilesh Bahuguna, founder of Allspheres Entertainment Pvt. Ltd, an event management company. A TV actor gets paid about Rs5 lakh for a music video or live performance, "but a celebrity who is popular among viewers with fewer reality shows behind him or her can demand much more".
Even Bollywood A-listers are drawn to reality TV, thanks to the fees and the ability to reach out to people. Television is paying actors such as Amitabh Bachchan on Bigg Boss and Akshay Kumar on Khatron Ke Khiladi vast sums of money, says film producer Manmohan Shetty.
"The big stars take on reality shows to earn a quick buck and gain tremendous visibility in the process," he says.
This combination of money and profile has also worked to turn some unknowns into stars. Ashutosh Kaushik, owner of a roadside eatery in small-town Saharanpur, won the Rs5 lakh MTV Roadies 5 title in 2007 and then the Rs1 crore prize in Bigg Boss 2, which ended last November on Colors.
Although he has gone back to run his dhaba, Kaushik's tryst with fame hasn't ended.
"I have already got five offers from big networks to take part in their reality shows, but after Roadies and Bigg Boss, I can't take just anything that comes my way because I'm a known face now and I have made a name for myself with certain standards attached," says Kaushik. "I am waiting for the right reality show to come along. Meanwhile, I have invested my money in the production of a Bollywood film."
Similarly, Rahul Mahajan, son of the late Bharatiya Janata Party politician Pramod Mahajan, who participated in Bigg Boss 2 last year, has already judged two stand-up comedy shows, Chhote Miyan and Chhote Miyan Bade Miyan on Colors. Now, he has been chosen as the star of NDTV Imagine's Swayamwar 2 in which Mahajan will be following close on Sawant's heels as he chooses a bride from among 16 contestants.
"Just like the West, India's reality TV genre is getting an independent identity from other content on TV and even Bollywood and so are the stars participating on such shows," says Deepak Dhar, managing director of Endemol India Pvt. Ltd, the TV production company behind reality shows such as Bigg Boss and Fear Factor India.
There were as many as 53 non-fiction shows on air in the Hindi GEC space in the first half of 2009 against 31 in the corresponding period in 2007, according to TAM Media Research Pvt. Ltd, a TV audience measurement agency. The contribution of reality shows to total programming hours on such channels has grown from 6% in 2007 to 11% as of September.
Former item girl Sawant isn't complaining about the surge. "I have got lots of offers from networks for more reality shows," she says. "I have to see which ones I want to take part in."
priyanka.m@livemint.com
Vijaya Rathore contributed to this story.

redpajama_set_name: RedPajamaCommonCrawl


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WUSF is part of the Florida Public Radio Emergency Network, which provides up-to-the minute weather and news reports during severe weather events on radio, online and on social media for 13 Florida Public Media stations. It's available on WUSF 89.7 FM, online at WUSFNews.org and through the free Florida Storms app, which provides geotargeted live forecasts, information about evacuation routes and shelters, and live local radio streams.
Hurricane Laura Witness: 'The Wind Just Tore Everything Up'
By Bill Chappell,
Damaged buildings and homes are damaged in the aftermath of Hurricane Laura near Lake Charles, La., Thursday.
"It tore the brick off, it tore the roof off, it lifted the truck by its roof. I mean, it tore everything. I have a skylight in my truck right now," a fire department official said.
Emergency crews, utility workers and residents are mourning over the damage and cleaning up the mess Hurricane Laura made in southwest Louisiana. The storm — whose 150-mph winds tie for the strongest to ever hit the state — wrought destruction on a broad scale, leveling warehouses and crashing trees through roofs.
Residents are finding telephone poles and large trees strewn across streets. In Iowa, a small town a few miles east of Lake Charles on Interstate 10, the hurricane smashed Fire Station No. 1.
"It tore the brick off, it tore the roof off, it lifted the truck by its roof. I mean, it tore everything. I have a skylight in my truck right now," said Scooter Lewis, chief of the volunteer fire department, in an interview with NPR's Wade Goodwyn.
At a nearby mobile home park, Greg Lewis rode out the storm in his double-wide, staying behind after his wife went to a motel — a mistake, he now says.
As the Category 4 hurricane brought its furious winds ashore at about 1 a.m., Lewis crouched down behind his brick steps.
"It was the noisiest I have ever heard in my life, and it never quit," Lewis tells Goodwyn, adding that he could hear tornadoes in the midst of the storm's howling winds. He regretted staying behind, Lewis said.
"Every minute. Every minute. I won't do it again."
Another resident says her mobile home moved like a roller coaster in the intense winds.
Luke Sharrett / Bloomberg via Getty Images
Hurricane Laura wrecked part of a Market Basket grocery in Lake Charles. Damages from the storm are expected to run in the billions of dollars.
South of Lake Charles, Patrick Bright spent the night at his father's house, and he says the structure started shaking as the storm hit. Then, they felt the roof get pulled off — and water started coming into the house.
It was very different, he said, from previous strong hurricanes that hit the area.
"I was here for a little bit of Rita" and its massive floodwaters in 2005, Bright said. He added: "This time it's more, as you can see, the wind just tore everything up."
Laura's remnants are now moving across the mid-Mississippi Valley, bringing rain and the chance of tornadoes. As Lake Charles and surrounding areas take stock and clear out the damage, forecasters say strong thunderstorms will hit the region Friday, bringing more heavy rain, pea-sized hail and winds up to 30 mph.
Local / State2020 Atlantic Hurricane Season
COVID-19 Complicates Response To Hurricane Laura, Spurs Fears Of New Outbreaks
Hurricane Laura's Intense Winds Cut Through Louisiana Coastline


I look forward to serving as your President for the next two years. Our club will continue its' goals under my leadership and my Motto is "Working Together To Achieve Our Goals". I have selected Canine Companions as my President's Project and look forward to providing our service to that wonderful organization.
The Woman's Club of Ocoee building is available for rent for your events or meetings. To check availability and discuss the rental fees, contact the club at 407-656-7115 or e:mail owcclubrental@aol.com. I look forward to our projects and working with the members in the community this year.
Interested in renting our facility? Check out the tab "Clubhouse Rental". Any additional questions may be sent to owcclubrental@aol.com.
Please utilize the PO Box for correspondence.


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Barron Industries displays metalcasting technologies for Military Vehicles
Oxford, MI – Barron Industries is exhibiting its metalcasting technologies at the Ground Vehicle Systems Engineering & Technology Symposium (GVSETS) sponsored by the Michigan chapter of the National Defense Industry Association August 13-15. A supplier to the world's leading aerospace and defense companies for the past 35 years, Barron uses the investment casting process to manufacture Aluminum, Steel and Stainless Steel machined components and mission-critical assemblies.
To meet the soaring demand for its defense industry expertise, Barron is expanding its manufacturing facilities by 10,000 square feet, and its workforce by 30 percent.
"By investing in our new facilities, upgrading our technology and adding people, we are ready to respond to increased demand from our new and longstanding customers," said President and CEO Bruce Barron. "Plus, our recently acquired NIST 800 cybersecurity certification ensures Barron's preparedness in serving aerospace and defense companies that need to maintain information security throughout their supply chains."
The company is rapidly increasing production of precision- machined components for many of the ground vehicles manufactured by General Dynamics Land Systems, BAE Systems and Oshkosh Defense.
"We have installed a new Makino 5-Axis machining center and are updating our foundry
operations to increase our our capacity and further reduce lead-times," said Barron.
"With our vertically integrated manufacturing systems, we can already produce mission-critical
assemblies in half the industry-standard lead time," he said.
Barron is a unique full-service manufacturer of both ferrous and non-ferrous precision cast and machined components, 3D printed rapid prototypes and completely assembled mechanical sub-systems. Barron's in-house capabilities include CNC machining, non-destructive testing, welding, assembly, barcode labeling and serialization.
"Every component we manufacture is traced back to each operation, who performed it, and when," said Barron. "Putting all of this together and providing a complete package to the customer is what makes Barron Industries valuable to its customers."
Typical components supplied by Barron to the defense industry include mounts, instrumentation housings, guidance fins, power distribution chassis, towing components, antenna mounts, hatch rings, hinges, latch assemblies and exhaust components. Barron is AS9100D accredited, NADCAP certified for non-destructive testing, ITAR registered and NIST 800-171 Cybersecurity Certified.
Also known as the lost wax or precision casting method, investment casting produces high-strength components with fine detail, thin walls, and greater dimensional accuracy than sand and other casting methods.
"Investment castings have an excellent "as-cast" surface finish, reducing or even eliminating the need for machining, and that means huge reductions in cost and lead times," said Barron.
Barron Industries also supplies precision machined components and assemblies to the aerospace, automotive, oil and gas, nuclear and other commercial industries. For more information go to Barron-Industries.com
Lissa Barron, Communications Specialist
Recent Automation Alley Press Releases
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Jobs from Hell - Is Any Carrier Immune?
At Perkins STC, we believe in the method to the madness, but unfortunately sometimes the madness wins no matter how hard we fight it! Our processes, no matter how sound and effective, no matter how pretty the paper is that we use, no matter how many times we've done this, there are shared risks due to circumstances beyond our control. This is just reality, but never the goal.


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SWAN at the People's Assembly
The plenary sessions were rousing affairs. Owen Jones talked of the 'fear' and 'anger' stalking the land, and that now was the time for 'hope' and Mark Serwotka, from the PCS, argued that 'it's time we stopped fighting with one hand tied behind our back and socked it to these viscous bastards'. It was heartening that this radical talk was matched by Frances O'Grady, the new TUC general secretary, who described the Government as declaring 'class war' and pledging to fight as hard for 'our people' as the Condems do for theirs. The test, of course, will be on whether we can hold trade union leaders to their bold words.
The Assembly also impressed with its range of workshops, such as 'tactics for the anti-austerity movement', 'climate change', 're-unionising the UK', 'welfare not warfare' and 'defending the welfare state'. SWAN got a plug at the latter with a contribution from the floor emphasising the impact of austerity not just in terms of benefit cuts, important as these are, but also acted out in increases in the numbers of children coming into care and of people being sectioned and explaining that SWAN brings together practitioners, students, service users and academics: a model, perhaps, of the way that this campaign sees itself as progressing. The call for People's Assemblies in towns and cities across the country may well invigorate the anti-cuts committees and other groups already in existence and encourage new initiatives. There is also the commitment from the Assembly to support the already planned strikes of teachers and the PCS and to call for a national demonstration in support of the NHS, at the Conservative Party Conference in Manchester on September 29th 2013.
I came to the Assembly both glad it was happening and sad that it had taken so long to organise on this scale and so far into the cuts. While at the Assembly I missed the international dimension, there were few references to the world wide resistance to austerity, and curious about how the Assembly will respond to strongly expressed calls from Ken Loach and others for a political alternative to Labour. But overall I left excited at the prospects the Assembly holds to continue and strengthen the fight against austerity.
Jeremy Weinstein


A few weeks ago I got a sneak peek at the new Clarins Fall 2017 Graphik Collection and today I have a few of the goodies to share with you. You can see the entire product line-up here while in this post you get to see a few of them in action and I will share my first impressions with you.
The Eyeshadow Palette features 4 shadows inspired by fall: a soft pink, two green shades and a dark grey. All shadows have a buttery, soft formula and pack a decent punch in the pigmentation department. The shadows work applied dry as well as wet for a more intense color payoff. I found the shadows gave satisfying finger swatches but also performed very well when applied and blended with a brush on the eyes. I found a flatter, former brush picked up the formula nicely and transferred it to the lid well and did a great job at keeping that pigment intensity in the process.
The color scheme looked a bit odd to me but after using it a few times I came to like it. I have enough neutral palettes in my stash and I found this palette somehow refreshing, I rarely use greens in my looks and this palette has two subtle and very wearable versions of the color that I really, really enjoyed using both alone as well as combined with other neutrals.
The formula on the single Clarins Ombre Matte eyeshadows is one of my favourites so I was pretty excited when I saw this gorgeous midnight blue shade being released. I have a thing for blue make-up and despitemost shades not suiting me, I feel this shade is a lot easier to manage and can look quite sophisticated given the darkness and depth of the color. The formula works on these singles is wonderful both wet and dry and oh yeah, I am not sure why these shades are called matte because they all seem to have a subtle luminous sheen to them both in pan as well as when swatched.
I was very excited for the Graphik Ink Liner because I am always on the hunt for the a good eyeliner and unfortunately this one let me down. I like the packaging, the felt tip is comfortable to use and gave me nice, precise lines and the pigmentation was reasonable… I mean, it didn't give a rich, satisfying black swatch but it did a good job. The downside to this liner for me was the wear. Every single time I tried it I had it smudge, bleed and fade throught the day. This is common for me, my eyes "eat" most non-waterproof shadows and liners so if you don't have this problem you might enjoy this liner.
The Joli Rouge formula is one of my favourites due to how wonderfully rich and luxurious it feels and looks on the lips. Deep Red is the boldest shade I've tried in the range so far and it's a gorgeous luxurious red that has that wonderful, rich sheen and feel to it. The Lipliner Pencil in Red was helped set a base for the lipstick and kept it put for hours; the formula on these lipliners is one of the most comfortable out there, they just glide on the lips and deliver incredible pay-off in one swipe.
Here is a look I did featuring all of the products in the collection.


In the event that the donor gives something other than cash, such as a bit of property or books, it is the obligation of the donor to make an adequate assessment for its registration. If he or she does not provide the proper information, you can not claim your donation on your taxes. Unfortunately, many donors do not keep this information.
A donation is a good method to leave a legacy. Keep in mind that donations to people will not meet the requirements for a tax deduction. Therefore, you should not be shy to take advantage of your potential for donations. It may be more effective to incorporate a check box I would like to earn a donation on your contact form as an alternative to the donation button alone.
A donation is protected by law. Your donation will have a dramatic effect on the life of a young man. Donations of items must be in good condition to be eligible for a deduction. According to this, they are quietly popular in terms of charities. Donations in memory are also sometimes granted by men and women if they can not attend the ceremony. It may seem easy to understand, but this concept also involves legal complexities. The donation of the use of materials, equipment or facilities is not recognized as income.
There are several reasons for composing the donation letters. Therefore, here are some tips that can help you write a better and more efficient donation letter. Writing donation letters is not really easy, since you must persuade readers. As with standard donation letters, these letters can also be adapted to suit the needs of the organization. In the same way, writing letters of request for donation is not a cup of tea for everyone. Therefore, here are some things you should learn before you start writing donation request letters.
Your employer can participate in a charitable giving program that allows you to make contributions directly from your paycheck. It is also possible to make a charitable deduction if a student lives at home under a professional program. You can claim the complete charitable deduction only if you reject the CD player.
The small details can make a difference. For donations that are not cash, a more detailed description of the merchandise or donated items must be included. More information can be found at IRS.gov. Also, be sure to provide specific information in the letter. Obviously, it is not enough to simply say what happens with the donation pages. Repairing your donations page is probably the biggest bang-by-buck improvement you can make on your site. This guide presents a summary of the main compliance difficulties of charitable auctions and how to use donor education as part of compliance.
You can discover various forms of donation letter templates that will help you here. The donation receipt template is extremely simple to use. In addition, there are many templates apart from the standard format that can be found on our main site. It is possible to find several types of donation request form templates available on our main site. The form and instructions are offered on the IRS website and can be obtained through this link, IRS Tax Forms. If the donation form is made taking into account all the fields and vital categories, the whole process is easy and effortless. No matter what type of charity you are responsible for managing, a donation receipt form is something you will need in a normal way.


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Home Research > Members > 1660-1690 > SACKVILLE, Charles (1643-1706)
SACKVILLE, Charles, Lord Buckhurst (1643-1706).
Published in The History of Parliament: the House of Commons 1660-1690, ed. B.D. Henning, 1983
Available from Boydell and Brewer
Biography Detail
1661 - 4 Apr. 1675
Family and Education
b. 24 Jan. 1643, 1st s. of Richard Sackville, 5th Earl of Dorset, by Lady Frances Cranfield, da. of Sir Lionel Cranfield†, 1st Earl of Middlesex; bro. of Hon. Edward Sackville. educ. Westminster 1657-8; travelled abroad (France) 1658. m. (1) June 1674, Mary (d. 12 Sept. 1679), da. of Hervey Bagot of Pipe Hall, Warws., wid. of Sir Charles Berkeley II, 1st Earl of Falmouth, s.p.; (2) 7 Mar. 1685, Lady Mary Compton (d. 6 Aug. 1691), da. of James, 3rd Earl of Northampton, 1s. 1da.; (3) 27 Oct. 1704, Anne, da. of one Roche of Westminster, s.p.; 1s. 3da. illegit. suc. uncle 3rd Earl of Middlesex in Copt Hall estate 1674; cr. Earl of Middlesex 4 Apr. 1675; suc. fa. 27 Aug. 1677; KG 24 Feb. 1692.1
Col. of militia ft. Mdx. Oct. 1660-2, Kent by 1666-?68; commr. for assessment, Kent 1661-3, 1664-74, Suss. 1673-4; dep. lt. Kent 1661-?68; ld. lt. Suss. (jt.) 1670-7, (sole) 1677-Jan. 1688, 1689-d., Som. (jt.) 1690-1; j.p. and custos rot. Suss. 1677-Jan. 1688, 1689-d.; steward, honour of Eagle 1677-d.; high steward, Stratford-upon-Avon 1684-d.; keeper of Greenwich palace 1689-97.
Gentleman of the bedchamber 1670-85, PC 14 Feb. 1689-d.; ld. chamberlain 1689-97; one of the lds. justices 1695-8.
Capt. Duke of Buckingham's Ft. June-Nov. 1672.
FRS 1699.
Lord Buckhurst derived his courtesy title from a property seven miles from East Grinstead, which had been in the Sackville family since the end of the 12th century. His first ancestor to enter Parliament sat for Sussex in 1361. Thomas Sackville†, Queen Elizabeth's kinsman, received a grant of Knole and was raised to the peerage. Buckhurst's grandfather, the fourth Earl of Dorset, was a courtier and notable Royalist who was allowed to compound for only £1,500. His father, a Straffordian in the Long Parliament, played no part in the Civil War after its opening months. Buckhurst was returned for East Grinstead in 1661 while still under age and in receipt of only a modest allowance of £70 p.a. But the family interest was so strong that a contest is unlikely.2
Buckhurst's youth was devoted to the pursuit of pleasure, and he was an inactive Member of the Commons, being appointed to only 28 committees. On 17 June he was added to the committee for the jointure of the third earl's widow, but his only committee of political importance was for the uniformity bill. He was teller for the election of the Hon. William Russell at Tavistock. He was soon involved in two major public scandals, one a case of manslaughter, the other an example of adolescent exhibitionism. He was listed as a court dependant in 1664. He served as a volunteer in the second Dutch war, which inspired him to his best-known verses, 'To All You Ladies Now at Land'. He was one of the seven Members sent on 23 Oct. 1667 to ask Prince Rupert and the Duke of Albemarle (George Monck) about the division of the fleet in 1666 and the failure to defend the Medway. About this time he became the protector of Nell Gwyn, and it was generally supposed that the rewards and appointments which he now received were designed to facilitate her transfer to Charles II. The ascertainable facts are substantially as stated in Flagellum Parliamentarium:
Lord Buckhurst with a goodwill parted with his play-wench, and in gratitude is made one of the bedchamber; has the ground of the Wardrobe given him, and £6,000 at three several times.
His name was on both lists of the court party in 1669-71, and on the Paston list of 1673-4. He was regarded as a follower of the Duke of Buckingham, to whom he was related through his mother. During the debate on the removal of Buckingham on 13 Jan. 1674, Buckhurst made his only recorded speech in the Commons:
The Duke has informed you of nothing concerning public affairs, and why will you put him out of all capacity? Though his relation to him were ever so near, or obligations ever so great, would have him answer his accusations; but hear him first.3
After inheriting his uncle's estate in Essex, Buckhurst was raised to the peerage, and shortly afterwards succeeded as 6th Earl of Dorset. He was absent from the division on the second exclusion bill and took little interest in politics until James II's attempt to repeal the Test Act and Penal Laws. He was dismissed from his lord lieutenancy, and on William's landing joined in the demand for a free Parliament. He helped the bishop of London, his brother-in-law, to arrange Princess Anne's escape. He voted for the transfer of the crown and was made lord chamberlain; but Queen Mary found him 'too lazy to give himself the trouble of business, so of little use'. He died at Bath on 29 Jan. 1706, and was buried at Withyham. He is perhaps best remembered as a patron of literature. His eldest grandson was returned for East Grinstead in 1734 as a Whig.
Ref Volumes: 1660-1690
Author: B. M. Crook
This biography is based on C. J. Phillips, Hist. Sackville Fam. i. 436-93.
1. Slo. 1708, f. 107; Recs. Old Westminsters, ii. 811.
2. Keeler, Long Parl. 331.
3. CJ, viii. 334; Grey, ii. 251.


The fixed patient transfer unit (PTU) without window "Gamma/1", release of 2013, has been conceived using the experience and know-how of OPT, gained in more than 90 years' knowledge of the medical field.The goal of this device is to maintain the aseptic condition of the OR.
The PTU without window "Gamma/1" is used for transferring the patient from the operating table to the hospital bed without having the personnel pass constantly from the septic to the aseptic area with clear advantages in terms of hygiene.
The patient is protected by a couple of IR sensors located on the side of the transfer top, which make an anti-falling barrier in case of user's mistake.
The system makes it possible to speed up the transfer top movement by pressing the button on the remote control so to reduce transferring times.
In case of network failure, emergency, motor failure and/or absence of electricity it is possible to manually translate the PTU transfer top by using the emergency crank-handle device.
The PTU has a sensor kit for the recognition of trolleys for carrying operating table tops. The kit is installed on two sides of the PTU window and recognizes the presence of a table top or of a stretcher and it blocks the down movement of the transfer top after a certain time.
The PTU can be equipped with a heated table top for a better patient comfort.
Two infrared remote controls (one in the aseptic area and the other one in the septic one) to activate all the electro-mechanical movements.
Available transfer top length: 1.880 mm.
Passing light of the transfer top: 2003 mm.