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Classical music: The talented new director of the Isthmus Vocal Ensemble sets the acclaimed and still impressive group on a new path with mixed results and hopeful expectations
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.
By John W. Barker
The Isthmus Vocal Ensemble (IVE, below) is a well-established part of Madison's musical summers. It offers dedicated choral singers a chance for intensive rehearsal preparation of highly accomplished choral music, and has delivered some truly memorable events over the years.
Of its concerts this year, I caught the second performance on Sunday afternoon. The choir itself doesn't need to be shown off by now, but it was the choir's chance to show off its new conductor in his first appearance here.
Michael McGaghie (below) is that new conductor. He is very plainly a brilliant choral technician who knows how to make a choir sound wonderful. (For more about McGaghie, who is the Director of Choral Activities at Macalester Collge in St. Paul and who leads the Harvard Glee Club Alumni Chorus in Cambridge, Mass., go to: https://www.isthmusvocalensemble.org/artisticdirector/)
That he did throughout the program. The IVE — 69 singers strong — certainly responded with an infectious enthusiasm that was also communicated to the large audience that filled the Christ Presbyterian Church. The concert was certainly a feast of great choral singing.
But what about the music?
To begin with, the actual music amounted to no more than about an hour's worth. McGaghie planned the program as a progress of emotional moods, and he introduced each piece himself.
But what were the contents? McGaghie largely turned his back on the centuries of great choral music, the kind that his predecessor Scott MacPherson explored so ambitiously.
There were, at the beginning, two examples of that, motets by Thomas Tallis of the 16th century and Heinrich Schütz of the 17th century.
There was also an interesting nugget from the Russian composer and conductor Nikolai Golovanov (below), an early work of his (1917), setting the Lord's Prayer (Otche naš) In a style departing from the previous two centuries of great Russian Orthodox choral writing.
Beyond those, however, the remaining nine items in the program — and the encore — were entirely by recent composers, mostly living and mostly American. These were his introductory calling cards, and so they invite scrutiny.
Ours is not an age of great, idiomatic choral writing, and composers go their own ways variously. Many of them rely upon a kind of chordal declamation with little sense of line or full-bodied texture.
Some pieces I don't think I would want to hear again, and a couple I would not have wanted to hear even the first time.
An example of the latter is a piece about sirens and sailors by Chinese-American Chen Yi (below top), a collage of weird choral sounds but no musical content recognizable to any but Chinese ears.
Another was a loudly trashy adaptation of a Civil Rights "freedom song" by Jeffrey Douma (below bottom), plus the gesture to multicultural triviality in a Philippine folksong arrangement.
Three of the items came with piano accompaniment. In The Whole Sea in Motion by Dale Trumbore (below top) — which uses a text from Anne Brontë — the piano gave an underlying ripple to support declamatory, non-linear writing.
In Eternity by Donald Martino (below), the pleasantly lyrical choral writing really didn't need the piano at all. And that part was much too prominent against Morten Lauridsen's nicely polyphonic, and quite self-sufficient, choral texture in "Sure on This Shining Night" that treated James Agee's famous poem. (You can hear the Lauridsen work in the YouTube video at the bottom.)
There were certainly some among these contemporary items that I found quite enjoyable.
In Ophelia, a setting the account of that woman's death in Hamlet, Jocelyn Hagen (below top) was overly concerned with story-telling, but the work certainly contained some lovely writing. O Radiant Dawn by Scottish master James MacMillan (below bottom) was a beautifully sonorous tribute to Catholic liturgical tradition.
What does this conducting debut point to for the future?
McGaghie can create the most splendid choral beauty — though often at the sacrifice of clear diction. On the basis of this program, it looks like he could now focus the IVE on lots of short contemporary pieces, rather than on the vast traditional literature.
We will have to see.
Tags: #Americancomposers, #AmericanRecordGuide, #AnneBrontë, #BlogPost, #BlogPosting, #CambridgeMassachusetts, #ChenYi, #ChoralMusic, #ChristianChurch, #ChristianReligion, #ChristPresbyterianChurch, #CivilRights, #DaleTrumbore, #DonaldMartino, #EmeritusProfessor, #GleeClub, #HarvardUniversity, #HeinrichSchütz, #IsthmusNewspaper, #IsthmusVocalEnsemble, #JamesAgee, #JamesMacMillan, #JeffreyDouma, #JesusChrist, #JocelynHagen, #JohnW.Barker, #Lord'sPrayer, #MacalesterCollege, #MadisonEarlyMusicFestival, #MedievalHistory, #MichaelMcGaghie, #MortenLauridsen, #MusicCritic, #NikolaiGolovanov, #PianoAccompaniment, #PolyphonicMusic, #RomanCatholicism, #RussianComposer, #ScottMacPherson, #St.PaulMinnesota, #ThomasTallis, #UniversityofWisconsin, #UniversityofWisconsin-Madison, #WilliamShakespeare, #WORT-FM89.9, 16th century, 17th century, accompaniment, alumni, American Record Guide, Anne Brontë, arrangement, Arts, Baroque, beauty, brilliant, Chen Yi, Chinese, Chinese-American, Choir, choral, choral music, chordal, Christ, Christ Presbyterian Church, church, civil rights, Classical music, classicalmusic, collage, composer, Concert, conductor, Dale Trumbore, declamation, director, Donald Martino, Early music, earlymusic, emeritus, emotion, emotional, enthusiasm, event, famous, feast, folk song, folksong, gesture, Glee Club, Hamlet, Harvard, Heinrich Schütz, History, infectious, Isthmus, Isthmus Vocal Ensemble, Jacob Stockinger, James Agee, James MacMillan, Jesus, Jesus Christ, Jocelyn Hagen, John W. Barker, lecture, liturgical, Lord, Lord's Prayer, Madison, Madison Early Music Festival, Medieval, MEMF, memorable, Michael McGaghie, Morten Lauridsen, motet, multicultural, Music, Nikolai Golovanov, Ophelia, Philippine, photo, Piano, piece, plan, poem, Poetry, polyphonic, polyphony, prayer, Presbyterian, professor, program, recent, rehearsal, Roman Catholicism, Russian, Scotland, Scott MacPherson, Scottish, sea, Shakespeare, singer, Singing, St. Paul, summer, Thomas Tallis, tribute, triviality, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, vocal music, Wisconsin, WORT-FM 89.9, YouTube
Classical music: Great choral singing by the Madison Chamber Choir and the Madison Choral Project should serve great choral music – and fewer second-rate novelties
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who for 12 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also provided the performance photos for this review.
Two of the city's important choral groups joined forces for a program presented at the First Congregational United Church of Christ last Friday night and Sunday afternoon.
Albert Pinsonneault (below), who used to teach at Edgewood College and now teaches at Northwestern University, and who is the director of both groups, conducted.
Each group had its own showcase in the program's first half.
The Madison Chamber Choir (below) led off with the "Serenade to Music," a setting of lines from William Shakespeare's Merchant of Venice, which Ralph Vaughan Williams composed in 1938 for 16 of his favorite singers, with orchestra. He adapted this for full chorus, but that transition did not quite produce a work truly choral in character.
The choir sang the beautiful work very handsomely, but the substitution for the orchestra of a piano accompaniment was uncomfortable and, indeed, a disruption of diction. (You can hear the original version for chorus and orchestra in a YouTube video at the bottom.)
The Madison Choral Project (below top) came next with a performance of "Images, Shadows, Dreams: Five Vignettes" by the late David Baker (1931-2016, below middle).
Baker was a noted scholar and promoter of jazz, and his goal was a "fusion" of jazz with classical forms. To the five composed poems, Pinsonneault added readings of poems written by five young participants (below bottom) in the University of Wisconsin-Madison's Odyssey Project activities in cultural and educational support.
All this represents noble and praiseworthy efforts on behalf of disadvantaged African-Americans. But high ideals do not necessarily guarantee artistic achievement. Baker uses a combo of five instrumentalists, which bangs away behind the choir, hardly "fusing" anything in styles—neither honest jazz nor multicultural synthesis.
The choir, in its turn, sings mightily at music of generally simplistic technique — mostly unisons and chordal declamations. There is little to remember or admire, once the "messages" have worn off.
Fortunately, the intermission yielded to the one work of substance on the program, the Mass for Double Choir, by the Swiss composer Frank Martin (1890-1974, below), a combination of neo-classical and modernist styles that is better appreciated in Europe than here.
For this, the two choirs (below) merged, then divided into the requisite two components.
Martin's writing is subtle, and his juxtaposition of the two choirs is not just antiphonal but artfully varied in their interaction—to which is added a great deal of harmonic experimentation. This is one of the choral masterpieces of the 20th century.
Pinsonneault and his 57 choristers gave it a glorious performance, showing what this conductor can do to make great choral sound out of great choral music.
The final programmed piece was a somewhat pretentious setting by contemporary Scottish composer James MacMillan (below) of a ballad by poet Robert Burns. As an encore, the singers perpetrated a glitzy, but uncredited, arrangement of "Loch Lomond"—the only piece that brought the audience to its feet.
This concert was an undeniable testimony to the splendid choral groups we have here, and to what Pinsonneault is accomplishing with these groups. But I kept returning to the dichotomy at which I hinted earlier.
Choral singing is a wonderful activity both to listen to and to participate in, and I share some of the enthusiasm for that. But I wonder how many in the audience were there seeking great CHORAL singing. I was there seeking great choral MUSIC.
Our choirs can give us the former, no question, and audiences can justly admire it. But has all this musical talent been applied responsibly to the latter? How much do our choral programs deal with trivia and little sweetmeats, rather than digging into the vast literature of magnificent choral art?
Tags: African American, Albert Pinsonneault, Arts, choral music, Classical music, David Baker, disadvantaged, diversity, Edgewood College, Frank Martin, Isthmus, Jacob Stockinger, Jazz, John W. Barker, Madison, Madison Chamber Choir, Madison Choral Project, Madison Early Music Festival, mass, Medieval history, Merchant of Venice, modern, modernist, multicultural, Music, neo-Classical, Northwestern University, Odyssey Project, Orchestra, Piano, race, Ralph Vaughan Williams, Scotland, Scottish, Serenade, Serenade to Music, Shakespeare, singer, Swiss, Switzerland, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, vocal music, William Shakespeare, Wisconsin, WORT-FM 89.9, YouTube
Classical music: The critically acclaimed vocal group Cantus sings about four kinds of love at the Stoughton Opera House this Saturday night. The Stoughton High School Concert Choir is a special guest performer.
The Ear has received word about an intriguing and appealing performance this weekend:
On this Saturday night at 7:30 p.m., Cantus (below top, in a photo by Curtis Johnson), the critically acclaimed, nine-voice men's vocal ensemble based in the Twin Cities, will perform at the Stoughton Opera House (below middle and bottom), known for its historical restoration and its fine acoustics.
Love has been the inspiration for artistic expression since the dawn of time. It is such a complex idea that the ancient Greeks broke it down into four different kinds: romantic, familial, friendly and unconditional or spiritual love.
Weaving together repertoire and interstitial remarks, Cantus regards this unquantifiable emotion from all sides.
The program spans multiple historical eras and cultural traditions.
It features music by Francis Poulenc, Edvard Grieg, Ludwig van Beethoven and Bobby McFerrin.
Each of those works is paired with newly commissioned works exploring each of the four loves (romantic, familial, friendly and spiritual) by Pulitzer Prize-winner David Lang (below top, in a photo by Peter Serling) as well as Roger Treece (second below), Joseph Gregorio (third below) and Ysaye Barnwell (below bottom).
The program brims with Cantus's trademark programming juxtaposition, including pairing the Beach Boys' "Their Hearts were Full of Spring" with "Wedding Qawwali" by the Grammy Award- and Academy Award-winning Indian composer A. R. Rahman (below) and Michael McGlynn's setting of the traditional Gaelic "Ceann Dubh Dilis (Her Sweet Dark Head)" in a set about romantic love.
While seemingly disjointed on its face, the variety of repertoire throughout blends seamlessly and highlights the universality of Love – our greatest and most fragile gift.
For more information about Cantus, including biographies, photos, videos and audio samples, visit this link:
http://www.allianceartistmanagement.com/artist.php?id=cantus&aview=dpk
Here is a YouTube video about the program, with musical samples, to be performed in Stoughton:
Tags: a cappella, Academy Award, Ancient Greece, Arts, Audio, Beach Boys, Beethoven, Bobby McFerrin, Cantus, Choir, choral music, Classical music, composer, culture, David Lang, diversity, Family, friend, Gaelic, Grammy, Greece, Greek, Grieg, high school, History, India, Indian, Irish, Jacob Stockinger, Joseph Gregorio, Lang, Love, Ludwig van Beethoven, Madison, Minneapolis, multicultural, Music, opera, Opera house, Oscar, photo, popular music, Poulenc, Pulitzer Prize, Rock, Roger Treece, Romance, Romantic, spiritual, St. Paul, Stoughton, Stoughton High School, Stoughton Opera House, surf music, Twin Cities, unconditional, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, video, vocal music, Wisconsin, YouTube, Ysaye Barnwell


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Welcome to the United Nations. It's your world.
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Mr. Wu Hongbo Under-Secretary-General for Economic and Social Affairs, Secretary-General for the Third International Conference on Financing for Development
International Year of Small Island Developing States
24 February 2015, New York
H.E. Mr. Sam Kahamba Kutesa, President of the 69th Session of the General Assembly,
H.E. Ambassador Ahmed Sareer, Permanent Representative of the Republic of Maldives to the United Nations and Chair of the Alliance of Small Island States,
Champions of the International Year of SIDS,
Mr. Gyan Chandra Acharya, High Representative of Land Locked, Least Developed and Small island Developing States,
Panellists and specially invited guests,
Excellencies,
I am honoured to join you this afternoon to mark the closing of the International Year of Small Island Developing States.
This year has illustrated once again that much can be accomplished through partnership. Collaboration among Member States, the UN System, international and regional agencies, and Civil Society made the year a resounding success. The highlight of the Year—the Third International Conference on SIDS—placed SIDS issues front and center on the world stage. It reminded us that SIDS issues are global issues.
The purpose of the International Year was to focus the attention of the international community on the challenges, as well as the many achievements, of SIDS.
I commend the leadership and dedication of AOSIS, the three SIDS champions, the President of the General Assembly, the individual SIDS member States, the many friends of SIDS and the whole range of stakeholders, for their significant contributions to the activities promoting the International Year of SIDS.
I would also like to take this opportunity to welcome the new chair of AOSIS, the Republic of Maldives. You are taking over an important role at a critical juncture. I have no doubt that you will continue the hard work of your successor, Nauru, in promoting the interests of Small Island Developing States. I would like to assure you of my constant support, as we continue to enhance partnerships and work toward the sustainable development of SIDS.
The unique challenges of SIDS were first formally recognized by the international community at the UN Conference on Environment and Development in 1992. Since then, SIDS have worked to overcome their vulnerabilities and have strengthened their resilience— through their own efforts, but also in partnership with the international community.
The designation of the International Year was a historic opportunity for mobilizing global action and partnership in support of SIDS. It raised awareness of SIDS challenges, their resilience, the great contributions they have made to the global community, and the rich heritage that makes them so proud.
Despite many dedicated efforts, SIDS remain faced with their particular challenges, such as sea level rise and natural disasters exacerbated by climate change, vulnerability to external shocks and excessive dependence on international trade, and their limited capacity to deal with those challenges. The degradation of their marine resources and biodiversity, and coastal erosion further threaten SIDS' economic growth.
The International Year has helped to highlight these challenges and emphasize why it is necessary for us all to take urgent actions to enhance the capacity and resilience of SIDS.
The International Year of SIDS and the Conference in Samoa were successful events, advancing the sustainable development of SIDS, but they both marked starting points rather than culminations. Our work together has just begun.
UNDESA, in cooperation with other UN agencies and regional entities, will continue to work to ensure the implementation of the SAMOA Pathway and the partnerships launched at the conference.
We will also work together to ensure that SIDS priorities feed into The Third World Conference on Disaster Risk Reduction, the Third International Conference on Financing for Development, the Post-2015 Summit, and the Paris Climate Change meeting, among others. The intergovernmental negotiations have begun for the Post-2015 Development Agenda this month, and SIDS delegations remain vocal in expressing their priorities within the context of global sustainable development.
As we look to the future, and the many opportunities before us we must ensure that the focus on SIDS issues and priorities continues.
I am pleased to have been associated with such a momentous International Year. I look forward to continued dialogue towards the further sustainable development of SIDS in the years to come.
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Home » Features » Monteverdi's Vespers – which recording is best?
Monteverdi's Vespers is an iconic work in more ways than one. For the composer, who published it 400 years ago in 1610, it was a calculated summation of his skill as a writer of sacred music at a time when he most needed to advertise it. Aged 43, and largely known as a madrigalist, he wanted to escape the frustrations of working at the court of the Gonzaga dukes in Mantua and find a new job, ideally at the Papal chapel. In the event, the publication almost certainly helped him gain a prestigious alternative, the post of maestro di cappella at St Mark's in Venice, which he would keep until his death in 1643.
For us today, however, the work has become one of the great pillars of the Baroque vocal-and-orchestral repertoire, a staple of the living canon that, like Handel's Messiah or Bach's B minor Mass, is almost guaranteed to sell out in concert. And this is in spite of the fact that its performance history is relatively short; the first full public performances were in the 1930s and the first recordings in the 1950s, making the Vespers an essentially modern presence. Indeed, its growing familiarity and reputation can be seen as iconic of something that Monteverdi himself would have had difficulty comprehending. For the story of the rise of the Monteverdi Vespers is the story of the post-war early music movement.
Nothing could be more obvious after listening to the nearly 30 performances to have made it onto CD, the earliest from 1966 and the latest from 2007. For indeed much of early music life is here. Many are the threads one could follow in a chronological trawl through five decades of Vespers recordings, including the dramatic improvement in the standard of playing on period instruments, the rediscovery of singing styles and techniques appropriate to the music (including the growth in one-to-a-part vocal ensembles), the fluctuating pull between musicological and artistic concerns (with the occasional entertaining spat between the individuals involved), and the role that recording itself has played in raising the public's appreciation of early music. Then there is the sense of community: a singer might appear several times (tenors Nigel Rogers, Ian Partridge and John Elwes for instance, or sopranos Maria Cristina Kiehr and Tessa Bonner); the cornett lists are dominated by the names of Jean-Pierre Canihac, Jeremy West, Bruce Dickey and Doron David Sherwin; several husbands conduct their wives; and musicians who have directed their own performances can be found playing in orchestras for others. It all seems to point to one thing: that, in a sense, the Vespers of 1610 is modern-day early music.
Some scholars have argued that, like the obviously separate Mass, the concertos were added to the publication as a kind of bonus and never intended to form part of the Vespers (Denis Stevens even recorded the work without them in 1966, which is perhaps going a little too far to make a point). A generally accepted view, however, is that, since most set Marian texts, they were intended as permissible substitutes for some of the service's plainchant antiphons. This conveniently allows them to be included even in those performances that attempt to create a liturgical context by interpolating appropriate chant, even if in those cases considerable reordering and rejigging of items is often necessary. Other performances ignore these problems altogether, however, and simply present the Vespers as it appeared in print.
In the end, though, such matters can be considered secondary for, whether by accident or design, Monteverdi's ordering of pieces comprises a concert work of about 80 to 90 minutes in length that is perfectly convincing to modern ears. The alternation of solo and choral numbers has the same logic as a Bach or Handel oratorio, and while the long and contemplative Magnificat that ends the work may seem unconventionally ethereal, its two-minute final chorus makes for a stirring conclusion. And nothing can obscure the brilliance, beauty and power of Monteverdi's music, so full of unforgettable moments – from the neck-tingling splendour of the opening Responsorium to the sensual intimacy of the duetting sopranos in "Pulchra es", the dizzying virtuosity and exoticism of three tenors in "Duo seraphim" to the wind-down ending of "Laudate pueri", and the commanding, Orfeo-like tenor roulades of "Audi coelum" to the masterly instrumental composition that is the Sonata sopra Sancta Maria, over which Monteverdi ingeniously lays a chanted soprano prayer, "Sancta Maria, ora pro nobis".
The earliest Vespers currently on CD, dating from 1966, is the first of two by Michel Corboz and his Lausanne forces. The choir is big and warm, the strings are modern and tempi are for the most part reverential and smooth. Yet there is a tenderness here, even a cloistery stillness, that is not to be found in any other version, not even in Corboz's brighter and more sharply etched second account from 1982.
It is hard to believe that Jürgen Jürgens's 1967 recording is from the same era. This is the first to use all period instruments (the Vienna Concentus Musicus), the first to add "liturgical" chant and, led by the peerless Nigel Rogers, the first to feature convincingly stylish solo singing. Though the Hamburg Monteverdi Choir is stodgy in places, this is a wise and atmospheric performance, with much of the colour and focus we would expect to hear today.
The first of John Eliot Gardiner's two recordings, from 1974 (10 years after he conducted the piece in the Monteverdi Choir's inaugural concert), sounds in many ways more old-fashioned. Modern strings and brass, and the likes of Jill Gomez, Robert Tear, Philip Langridge and John Shirley-Quirk among the soloists, give it a beefy ebullience that is matched by the forceful virtuosity of the choir. But though Gardiner's purposeful approach is stirringly dramatic, boldly eventful and full of ideas, it is also rhythmically rather rigid, and some of the greater subtleties of other performances are absent.
Hanns-Martin Schneidt's 1975 recording with the Regensburg Cathedral Choir is the first to use boys' voices. They bring a brightness to the performance that sits well with the increased technical confidence of the period-instrument playing, and there is some excellent solo singing, including a beautiful, other-worldly countertenor version of "Pulchra es" from Paul Esswood and Kevin Smith. A later account by Heinz Hennig with the Hanover Boys' Choir (1979) is similar in style but lacks the same polish, leaving Schneidt's with justifiable claims to be the state-of-the-art Vespers for the 1970s, as Jürgens's was for the '60s.
If Jürgens and Schneidt have a 1980s counterpart, it would almost certainly have to be Andrew Parrott's 1984 recording with the Taverner Consort, which devises a complex liturgical plan involving extra instrumental pieces and the displacement of existing numbers, and, without quite going the whole one-to-a-part hog, makes a decisive move away from large choral sound. The result may have lacked splendour to the ears of those used to what had gone before but with some of Britain's finest consort singers and instrumentalists involved, and model solo contributions from Emma Kirkby and Nigel Rogers, there is a vocal clarity and beauty here that gives the work a new humanity and intimacy.
Parrott's is also the first recording to take note of the musicological discovery that the Magnificat should be sung a fourth lower than its notated pitch. Though this is now almost common practice, many directors were at first reluctant to follow suit, having grown accustomed to enjoying the ethereal change of plane the higher pitch brought to the work's final 15 minutes. One other early adopter of transpositions, however, was Philippe Herreweghe but though his 1986 performance is typically gentlemanly and sweetly balanced, the soloists are pallid and it has, indeed, a "low-key" feel. Very different, though hardly preferable, is Nikolaus Harnoncourt's live recording with Vienna Concentus Musicus from the same year, marred by choral singing that is unattractively full-voiced and thumpingly text-led. A flurry of late-1980s recordings was initiated in 1988 by Harry Christophers and The Sixteen in a radical reordering that proposed a new liturgical context for the Vespers as music originally written to honour the Gonzagas' patron saint, Saint Barbara. Aside from the mild amusement to be had from hearing the "Sancta Marias" of the Sonata transformed into "Sancta Bar-ba-ra", this is a bright and clean choral performance, freely expressive and forthright in style without being aggressive, and perhaps the most successfully realised meeting between the work and the sound of the modern British professional chorus.
Later that year and the Gonzaga lady was in the frame again, as Jordi Savall and La Capella Reial turned up to record in Mantua's Santa Barbara Basilica itself. Typically, Savall and his vocal consort and instrumentalists achieve more achingly and lingeringly beautiful moments than anyone else, but at a cost to overall cohesiveness and momentum, especially in an overly drawn-out Magnificat. Worse, his Italian choir is frustratingly weedy.
Three recordings from 1989 effectively summed up the different approaches by now running in parallel. Gardiner's second, spectacularly recorded live in St Mark's, has a punchy choral sound, near-operatic solo singing (Bryn Terfel and Alistair Miles are among the basses), emphatic enunciation, big contrasts and deliberate exploitation of the building's spaces. Its outright theatricality sets it apart from other performances, but may make it a distinctly guilty pleasure for some. Frieder Bernius's intelligent and agile Stuttgart performance, very much of its time, takes the part-consort, part-choral path. Philip Pickett and the New London Consort, however, are the first to perform the piece one-to-a-part throughout (and with chant and transpositions to boot); their consort sound is less warmly homogeneous than some others but with Catherine Bott and John Mark Ainsley aboard there are compensating moments of individual flexibility and expressiveness.
Both the next two recordings also adopt the strict one-to-a-part approach, though neither is as satisfying an account as Pickett's. The Scholars, in 1993, are well-intentioned but simply weaker vocally and technically, while in 1994 Konrad Junghänel and Cantus Cölln, despite being technically accomplished and precise in every way (this is the first of several distinguished Vespers appearances by the cornetts and sackbuts of Concerto Palatino), deaden their performance with an unvarying, somewhat instrumental style of singing.
Oddly enough, single-voice performances drop out for the next few years. René Jacobs's 1995 recording is a sudden return to full-blooded choral singing, supplied by the Netherlands Chamber Choir, robustly buoyed by instrumental doubling. The choir is not the most refined or transparent but Jacobs draws a vibrant and flamboyant performance from them, in which lyrical expression is never forgotten. Interestingly, the vocal lines are largely unadorned but the cornett embellishments are almost balmily florid. There is also a lovely and unhurried "Pulchra es" from Maria Cristina Kiehr and Barbara Borden.
The only all-American Vespers in this survey comes from Martin Pearlman and Boston Baroque in 1997 but unremarkable soloists, untidy ensemble and a rather hollow recorded sound remove it from the serious contenders list. Rather better from that year is the performance by William Christie and Les Arts Florissants, a warmly choral version yet one that achieves almost all its effects through skilled pacing and attention to expressive detail rather than strident volume, with results as fluid and telling as in some huge madrigal. Here, too, are some of the most purely beautiful moments since Savall, not least Paul Agnew's passionate but poised "Nigra sum" and "Audi coelum".
The year of 1998 saw a landmark of sorts in the first recording by Italian speakers, even if the Swiss Radio Choir's concert performance under Diego Fasolis give a rather dull reading hampered by a few too many of the problems associated with a live taping. A similar absence of spark characterises Masaaki Suzuki's account with the Bach Collegium Japan from 1999; the choir sing with predictable clarity and grace but the soloists are colourless, and in the end there is little sense of atmosphere. In between these two, however, comes a liturgical (and much added-to and reordered) version from Gabriel Garrido and Ensemble Elyma which, while perhaps lacking technical slickness, is nevertheless astutely shaped and firmly directed. It also contains the most freely and naturally expressive "Pulchra es" from Emanuela Galli and Adriana Fernández.
A fascinating alternative view of the work is offered by Peter Seymour's 2004 recording with the Yorkshire Bach Choir, which takes all Monteverdi's most austere performance options to leave us without cornetts, sackbuts, strings and, for that matter, the Responsorium and the Sonata. Seymour also opts for the simpler six-part Magnificat but his intelligently pointed choral direction and a fresh-sounding choir ensure that the music retains its interest.
In the meantime, one-to-a-part performances had returned in 2002 with Tragicomedia under Stephen Stubbs but a dry and unforgiving acoustic, as well as the feeling that this is a Vespers more for instrumentalists than singers, make this a hard one to love. A much more exciting account is that of Rinaldo Alessandrini and Concerto Italiano, a fully Italian version at last (in 2004!), and one of the most imaginative for many a year. Like Christie, Alessandrini reveals his experience in madrigals, and though his alertly expressive tempo shifts may offer more jolts than the American's, they are no less convincing. The consort singing is bold and focused, yet sensitive, but it is a solo that provides eight of the most striking minutes in all of these recordings: a thrillingly full-blooded "Audi coelum" from baritone Pietro Spagnoli that sends shivers down the spine.
Unsurprisingly, Paul McCreesh opts for the liturgical approach in his 2005 recording with the Gabrieli Consort, in which his one-to-a-part reading gains a particular colouring from the use of male falsettists. In fact, though, the consort singing is a touch unincisive and vibrato-affected, and McCreesh's main achievement lies in some convincing tempo choices (including a slow, processional "Ave maris stella") and in maintaining the Magnificat's sense of mystery more than most at lower pitch. After all this, Robert King's 2006 recording with The King's Consort is like a blast from a less-complicated past. More than any other version, this one sounds like its director has set out to enjoy himself and forget the musicological baggage. Gleefully choral and revelling in presenting the Vespers as a work of splendour, it benefits from some strong solo singing (notably from Charles Daniels and James Gilchrist).
The last two Vespers recordings both date from 2007. Ralph Allwood's lively-minded direction shows the youthful agility of the Rodolfus Choir, and sounds attractive in Eton College Chapel's acoustics, but technical control occasionally falters. Surprisingly this one retains the higher pitch for the Magnificat, and it is interesting how toy-like it now sounds. Most recent is a recording from veteran Sigiswald Kuijken and La Petite Bande – rather an instrumentalist's version but accomplished nevertheless, in which stately psalms contrast with the flow of the motets and succession of verses in "Ave maris stella". Not everyone will like the fruity and tootily intrusive organ accompaniments though.
The variety of approaches taken to the Monteverdi Vespers make it difficult to single out a first choice. Some listeners will want added chant, others a one-to-a-part performance; others still may hanker for the high-pitched Magnificat. But had I to pick one above all others, I would want it to be one I could live with but also one that could continue to make me marvel at the music's many great touches of genius and grace. Christie's deeply generous and skilled reading does that for me but I will never stop wanting to go back to Andrew Parrott's recording – a landmark achievement that, for all its scholarliness, still has the power to touch heart, ear and mind.
This article originally appeared in the June 2010 issue of Gramophone.
In 2011 a very fine recording of Monteverdi's Vespers was recorded by L'Arpeggiata and Christine Pluhar. In his review of that recording Lindsay Kemp said, 'Last year I listened to over 30 Vespers for The Gramophone Collection, and this one joins those by Philip Pickett and Rinaldo Alessandrini at the top of the class of colourful versions using solo voices. Few in any category have been more exciting, however, or made my blood course more keenly.' You can read the full Gramophone review of that recording here.


Providing the Physical and Spiritual Support Needed For Residents and Their Families.
Liberty Hospice is available to support residents and families facing end-of-life concerns. The Hearth at Drexel, in suburban Philadelphia, is a trusted option for nursing and palliative care. The team of professionals at Liberty Hospice includes registered nurses, hospice nursing aides and bereavement specialists, specially trained to meet the unique care needs you may face at this time. These hospice services can be provided at The Hearth, allowing residents to remain in their home here.


Miseria e Nobiltà is a famous restaurant in Rome that has always offered pizza and dishes of Neapolitan cuisine. The environment, as you already guess from the name of the famous films of Stan Laurel, recalls the film and the celebrities of the past years. The kitchen offers both meat and fish, as well as great pizza, all prepared with fresh ingredients that come directly from Campania. You'll find characteristic dishes such as scialatielli and paccheri alla Toto, but also fried, bass fresh, mozzarella and classic desserts such as puffs pastiera from Naples, all to taste with wines from Campania. The restaurant is open for lunch and dinner and is also ideal for enjoy a drink together, watching a football matches.


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Hippodamia convergens is semi-hemispherically shaped and has elytra that are yellow/red or tannish red with 12 black spots. The beetle does not have the typical oval shape of most lady beetles and the elytra are not as curvaceous. Hippodamia convergens has three separate spots on the posterior of the elytra, while their legs and underside are all black. These beetles have short legs with 3 segmented tarsi and short antennae as well. The prothorax is black with a white border and white lines that are directed inward towards one another and the abdomen; they are converging, thus giving this beetle its name. The prothorax does not align perfectly with the front edge of the elytra.
No information was found about the mating systems of these lady beetles specifically, but it is likely that they mate multiple times with multiple mates, as do other Coccinellidae.
No information was found about parental investment in this species, but it is likely that, as with other coccinellids, it provides only nutrients in the egg as parental investment.


text:
Tiruvannamalai railway station is a station of the Indian Railways system, station code TNM. It serves the city of Tiruvannamalai in the Indian state of Tamil Nadu.

Administration
The station falls under the jurisdiction of Tiruchirappalli railway division in Southern Railway zone of Indian Railways.

Lines
It is on the line connecting Katpadi Junction and Viluppuram Junction.

Location
This railway station is located off Bengaluru-Pondicherry road.

Infrastructure
This railways station is at an elevation of  699 ft. This railway station consists of three platforms and nine railway tracks. This railway station is electrified.

Notable places nearby
The most notable place is the Annamalaiyar Temple. Being built in the 700 AD, the station close to the temple.

References

Railway stations in Thiruvannamalai district
Transport in Tiruvannamalai

redpajama_set_name: RedPajamaWikipedia


It's time to ask – is that strategy really providing cost savings? In my experience, most financial institutions lack true accuracy in accounting for their equipment maintenance costs. Equipment repair costs are often comingled with all other "repair costs." Following are some aspects to keep in mind as you look at assessing your budget for equipment maintenance.
Juggling multiple vendors, multiple locations, multiple expiration dates and the nuances associated with a T/M servicing strategy can be the recipe for an accounting nightmare and surprising cost overruns. Equips can help you increase your accounting accuracy and simplify your budgeting while still maintaining the high level of equipment performance. Schedule a complimentary peer analysis at steve@equips.com and learn how you can have one agreement and a powerful online platform to service and manage all your equipment in the most efficient and cost effect manner.


text:
Message from Thomas in Nick Fuentes Server #conspiracy
Joe the boomer
https://www.yahoo.com/news/broward-sheriff-deputy-resigns-video-232603758.html
epic music
ignoring school shootings epic style
Literally Shaking
https://twitter.com/benshapiro/status/967163306531147781
From the real sheriff israel
This is from Feb. 11th
"We don't say his name"
http://time.com/5173162/donald-trump-cpac-john-mccain-obamacare-repeal/
Trump: "I don't want to be controversial so I won't use his name"
https://twitter.com/realDailyWire/status/967205021036269568 Ben is woke on this
🎭🎵
Nick and Spencer work together but have a feud to draw more people in
Nick fr MAGApedes Richard for dissidents leftists etc
Get woke we all getting played
https://twitter.com/DoMemesNotDrugs/status/967248099692302338
I feel so bad for Nicholas Cruz now
I mean the post itself isn't exactly wrong. And don't feel bad for a faggot that couldn't control his emotions enough to refrain from fucking shooting people.
(Assuming that's what actually happened.*)
True..I'm torn. He is a faggot but I also see how much he was ignored and probably wasn't hugged as much
Yeah. That's the real problem with society.
People are neglectful, not just of the youth, but just in general.
Everyone's in it for themselves
and there's not too much consideration for the greater good.
I haven't felt a hug in over a year so I've been in a really empathetic mood recently.. I would've given him one everyday if I went to school with him. I used to do that
Nicholas István
This thread is insane, Sheriff Israel is basically a democrat political operative running a criminal enterprise
https://twitter.com/thelastrefuge2/status/966854507744374784
Democrat/Jewish, same thing
Hillary was going to appoint him as FBI director
WilliamGnfld
If that's real I hope he meets the business end of a fucking AA gun.
happenings in america are deus ex plot tier lately
IAmHiding
That link didng show the thread for some reason
Ive already read it though
Hmmmmmmmmmmmmmm
Same here, I read it yesterday but last night it wouldn't show
I posted it here last night
holy shit even on pc it won't show the thread wtf
I have every single tweet liked so if i wanna go back i could just look on there but this is odd
https://threadreaderapp.com/thread/966854507744374784.html


Leave in — Best Home Care, Inc.
Live-in care is an increasingly popular alternative to an elderly relative moving into a care home. It enables them to stay in their own home and meet their changing needs. For some people it offers a way of continuing to live as independently as possible at home in their local community.


I have used Ecowater Systems Calgary for the water quality issues I have on my acreage for over 15 years, I have extremely hard water and also high TDS in the water. Aaron has designed and taken care of our equipment for all these years, when I have had problems he has been there to help out, 24 hours a day. I have recommended many people to Aaron and Ecowater because I believe he is the best at what he does. My water system contains a constant velocity pump, water softener, ultraviolet light and a distiller.
We have an older EcoWater RO system installed in our house and we really enjoy great tasting water and no need to buy bottled water of any kind. We have had very little problems and we mean very little with the RO system that couldn't be fixed over the phone. We would recommend EcoWater Systems Calgary for your water needs.
When choosing a water system, EcoWater is the only place to shop. You get excellent service 24/7, they never miss a call or fail to return a call. We have had both the water softener system and the RO system for drinking and will never go back! Their products have never broken down or failed us and the quality means no excessive costs for labour and headaches wondering if the units are going to last. We have had our systems for over 12 years and are extremely impressed with the quality of the products, service and honesty of the staff and installers.
filtration system for the kitchen. What a difference. I should've had these installed sooner but I am glad I have it now. I would highly recommend EcoWater systems to anybody who is thinking about a water purification system or water softener. Professional and helpful and have been in business for quite a while.
dish washer as well as laundry washer.


text:
Hatfield believes that Hugill will lead the line for West Brom
by Nick Pratt share
2 minute read 1/9/2021 | 05:40pm
Express and Star journalist Luke Hatfield believes that Jordan Hugill will come in and lead the line for West Bromwich Albion.
Hugill signed for the Baggies on a season-long loan deal from Premier League side Norwich City.
The 29-year-old has plenty of Championship experience, making 208 appearances in the division for Preston North End, Middlesbrough, Queens Park Rangers, Norwich and now West Bromwich Albion.
In those 208 appearances, Hugill has found the back of the net on 46 occasions and has provided a further seven goals for his teammates. West Brom's newest signing made his debut for the club last weekend, as he was a second-half substitute in the Baggies 1-0 win against Peterborough United.
Howe could yet seal "extraordinary" late signing as NUFC given lifeline on £50m target - opinion
"From everything I've gathered" - Insider hints at late transfer to "look out for" at West Ham
Sky Sports: Everton plotting late move for "important" 14 G/A gem, forget about Gordon - opinion
Hatfield believes that Hugill will lead the line for West Brom, telling Football FanCast: "Well a striker was always going to be the biggest one for Albion, but for Ismael like I said before it was about getting the right man in, with the right mentality.
"I think a lot of people are almost understating the signing of Hugill. I think he is probably the man that Ismael really wants to lead the line.
"I think Hugill is someone he's really happy to have brought into the club. You know, with fans they're always desperate to see a big name signing, a marquee signing, a striker and I think the one which fans probably wanted was Daryl Dike."
West Bromwich Albion have made a fantastic start to life back in the Championship, as the Baggies have picked up 13 points from a possible 15 so far and currently sit second in the league table, with only Fulham ahead of them on goal difference as they look to make an immediate return to the promised land.


Just got done watching Above The Dust on Vimeo and realized we don't give mountain biking enough pub on this blog. We do have mountain biking shirts, but it honestly takes a back seat to hiking, climbing and kayaking.
But like I said, after watching Above The Dust I think things might change. ATD was shot at The Whistler Bike Park – one of the most incredible mountain biking spots in the world. They take world class ski slopes that are covered with snow in the winter and turn them into dirt trails for the bikes in the summer.


In a previous post i wrote about integration of a netatmo weather station into a telegraf/influxdb/grafana stack. The second part of the project was to build a weather sensor for my basement and to integrate it into this stack.
The used esp8266 is a cheap low-power 32bit microcontroller often used for IoT devices. I used a Sparkfun "The Thing" board because it already has a LiPo-charger and a connector for an external antenna on board. But the board has no build in serial/usb connector. You have to connect a USB-RS232 temporary for programming the chip. I used a simple FTDI breakout.
The sensor chip is a DHT22. A digital sensor for temperature and humidity. Since it uses a digital protocol wiring is really easy. Just connect it to 3V3 and GND for power and to a GPIO pin for data.
On the software side i used ESPEasy which is a complete firmware for the esp with everything included. It just must be compiled and falshed. Then everything can be configured by browser. I patched it a little bit to also calculate the value for absolute humidity.


Dental crowns in Houston, TX are used to fill gaps and restore a smile if your teeth are damaged or missing. Having a crown can help you chew and bite better, and can place a positive impact on the other systems in your body, for example, your digestive system.
The crown is a cap that your dentist can place on a damaged tooth, and it will restore that tooth to its previous size, shape, and function. It will make the tooth underneath stronger and do nothing but improve the way it looks.
Cover up a badly shaped or discolored tooth to enhance your smile.
Your crown could be composed of several different kinds of materials. Usually, it is porcelain or ceramic. Your dentist will think about where your tooth is located, how your gum tissue is positioned, ask you your preference, how much of the tooth shows when you smile, the shade and color of the afflicted tooth, and the tooth's function before helping you decide.
There are several steps involved in placing a dental crown in Houston, TX, and it usually takes two dental visits.
The dentist will prepare your tooth by taking away its outer part so the crown will fit over it. If there is any decay, it will be removed at that time. If the tooth needs more structure to be able to support the crown, your dentist might build up the tooth core.
The dentist will then make an impression of your tooth to use as a model for the new crown.
When your new crown is ready, the dentist will place it over your tooth and make what adjustments are necessary. When it looks good and feels right, your crown will be cemented in place.
Your dentist will give you further instructions on how to care for your new crown for after you leave his office.


text:
We're updating our sign in and registration system
Salon's community is getting some much-needed fixes and upgrades
By Salon Staff
Published March 28, 2013 3:00AM (EDT)
We're happy to announce that we are revitalizing the Salon community with great features like a new Salon profile, a much-needed complete comments overhaul, and improvements to the sign in and registration process. We've started by updating the sign in and registration pop-up with a less buggy interface and more clear messaging. We hope this makes signing into Salon much easier.
Users with a current Salon account can still log in via their Google, Facebook or legacy Salon accounts. You may have to re-authenticate with Facebook and Google, but you will be signed in to the correct comments accounts that your social network login has already been associated with. New users can also create an account by using Facebook or Google .
Please bear with us while we take the time to improve the overall user experience. If you are experiencing issues or have any questions, feel free to check the comments FAQ or email help@salon.com. We'll be happy to help you through this transition.
Happy commenting!
Salon Staff
MORE FROM Salon Staff
Inside Salon


text:
Norman Mark Reedus (Hollywood, Florida, 6 ianuarie 1969) este un actor american. Este cunoscut în primul rând pentru rolul lui Murphy MacManus în filmul Boondock Saints (1999) și pentru personajul lui Daryl Dixon în serialul de televiziune The Walking Dead. De asemenea, el a regizat mai multe videoclipuri si a pozat pentru diferite designeri de moda. În plus, a lucrat alături de Lady Gaga în videoclipul Judas.

Viața și carieră
Norman Reedus s-a născut în Hollywood, Florida, iar câteva luni mai târziu, familia s-a mutat la Los Angeles, California. După plecarea de acasă la vârsta de 12 ani, a locuit pentru o lungă perioadă de timp, în Regatul Unit, Spania și Japonia. Acesta a fost descoperit la o petrecere în Los Angeles în timp ce compagina locul sau de muncă într-un magazin de motociclete Harley Davidson în Venice, Los Angeles, cu grafica ca pictor, fotograf si sculptor pentru diverse spectacole. Primul său spectacol a fost în play Hărți pentru Drowners la Tiffany Teatru de pe Sunset Boulevard și primul său rol în cinema a fost cu filmul horror de la Guillermo del Toro 's Imita interpretând pe Jeremy. Încă de la începuturile sale, a lucrat ca model pentru mărci precum Prada, Alessandro Dell 'acqua, D urban, Levi' s și Lexus, printre altele.

El este cunoscut în primul rând pentru rolul lui Murphy MacManus în filmul Boondock Saints și continuarea acestuia Boondock Saints II: All Saints Day, scris și regizat de către Troy Duffy, împărțind scena cu Sean Patrick Flanery și Willem Dafoe. A avut roluri în Plutitoare, Șase Moduri de a-duminică, Tânăr sălbatic, Blade II, Zvonuri care ucide, Mimic, 8mm, American Gangster, Eroul Vrut și Funcționarea Moscova , printre altele, precum și rolul său jucat în filmul Red Canyon încarnat pe Mac.

În 2010, a fost chemat să participe în serialul de televiziune de AMC The Walking Dead pentru a da viață personajului Daryl Dixon. Acest personaj a fost conceput exclusiv pentru el, din moment ce nu apare în comic, bazat pe personalitatea actorului. Rolul lui Daryl nu se referă doar la serialul de televiziune, dar, și de asemenea, un joc video protagonizat de frații Dixon numit The Walking Dead: Survival Instinct. În mai 2011, Reedus a apărut în videoclip pentru single - Iuda de la Lady Gaga
în cazul în care întruchipat de Iuda Iscarioteanul.A participat, de asemenea, în clipuri video de Radiohead, Björk, și R. E. M.

Viața personală
Are un fiu pe nume Mingus Lucien Reedus, care s-a născut la 13 octombrie, din 1999, cu modelul Helena Christensen, cu care a avut o relație care a durat din 1998 până în 2003.

Reedus a fost implicat într-un grav accident în 2005, după un concert a lui R. E. M. în Germania, care l-a costat complexă intervenție chirurgicală la ochiul drept pentru a recupera estetica chipului, temându-se să nu fie în măsură să-l impiedice sa continue să lucreze ca actor, ca urmare a prejudiciului cauzat; cu toate acestea, după recuperarea s-a întors înapoi la munca lui fără probleme.

În prezent, în afară de al interpreta pe Daryl Dixon în serialul de televiziune The Walking Dead și spectacolul de motociclete la Plimbare cu Norman Reedus în care el este prezentatorul. Arată proiectele sale artistice în galerii de artă din New York, Berlin și Frankfurt , cu scopul de a strânge fonduri, care sunt destinate pentru opere de caritate.

Referințe

Actori din statul Florida
Actori de film americani
Actori de televiziune americani
Nașteri în 1969


text:
Home Latest News EMTAKE launches a low-end human body heat detection camera
[Pangyo Technovalley] EMTAKE launches a low-end human body heat detection camera
By Ellen Lee
– Developed and supplied its heat-detecting thermal imaging cameras since March this year
– Prepares to expand markets to healthcare and smart cities beyond heat detection and security field
As we are quickly entering the aging society, the need to develop products and technologies that can protect safety from large-scale fires and disasters is increasing. Adding to this, human care technology to prevent infectious diseases such as COVID-19 is upgrading to make it easier to use products such as thermal imaging cameras.
(Portable sterilizer)
EMTAKE develops, produces, and sells thermal imaging cameras and sterilizers using UV and IR light. This March, it developed a low-end body heat detection camera with its own technology, and is introducing it to domestic and international markets. "The low-end human body heat detection camera developed by our company is a camera that checks and screens those infected with coronavirus or other diseases in advance," said Cho Yong-ho, the CEO of EMTAKE, adding, "To make the products that can be used by everyone at an affordable price, we have developed, produced and supplied low-end human body heat detection cameras with pure domestic technology."
(Thermal heat sensor module)
EMTAKE's low-end human body heat detection camera is being distributed at a low price so that the general consumers can easily access it, and along with the convenience of operation, it is capable of measuring the temperature with the accuracy of up to 0.3 degrees. With this, it is applied with AI technology, and contains the head detection feature to reduce measurement errors. The company is currently producing MT30, a thermal camera that detects human body temperature that emerged with the onset of coronavirus, MT50i, a thermal imaging camera for fire prevention that notifies you of signs of fire in advance, and MT50, a network thermal imaging camera that detects body temperature. With this, it is also supplying a hygienic tumbler with UV-C LED sterilization feature.
Cho said, "The thermal imaging camera has a function to check heat remotely, and also acts as the "eye" at night, so I think of the thermal heat camera is serving as the sixth sense to humans. Thermal imaging cameras are currently most actively used for heat detection and security fields, but in the future, we want to expand the market to various fields such as healthcare, smart factories, and smart cities." EMTAKE is currently supplying products to security SI companies, large distributors, government procurement companies, schools, and religious organizations, and also provides thermal imaging cameras to B2C customers through online shopping malls.
EMTAKE is strengthening overseas buyer matching activities in cooperation with KOTRA, and it has completed the establishment of joint sales subsidiaries in China and Vietnam. It is also preparing to enter the European countries such as Germany, France, the UK, and Italy, and the US market. With this, it plans to secure its own technology for core sensor parts such as thermal image sensor modules and bacteria detection sensors, and continue to develop new products that are of high quality.
About being in Pangyo, Cho said, "It is the best place for researchers to focus solely on research. Especially in Pangyo Technovalley, there are abundant research support programs, facilities, and equipment, so it is very useful for startups like our company," expressing satisfaction at being in Pangyo.
EMTAKE is based in Pangyo. Pangyo Technovalley is the Asia Tech Hub where more than 1,200 companies in IT, CT, and BT sectors with innovative products and technologies are gathered. Located just south of the Seoul metropolitan area, easy transportation access and infrastructure provides the best environment for Korean companies to conduct businesses.
Various high-tech companies are located here, with more than 64 thousand full-time workers with a vast majority in their 20s and 30s. By industries, companies in the high-tech industry are made up of IT companies, content technology companies, biotechnology companies, and nanotechnology companies.
With the support from innovative companies with global capabilities like Kakao, NHN Entertainment, AhnLab, Krafton, NCSOFT, Nexon, and Hancom at hand, companies in Pangyo Technovalley made over 100 trillion in revenue this year. A 20% increase from last year, it is expected to become one of the best IT clusters in Korea in near future, along with advanced technology research institutes like Advanced Institute of Convergence Technology, KAIST, ETRI, and KETI working together to develop the relevant technologies further.
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Ellen Lee