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When it comes to exposing Remote Desktop Protocol to direct connections, you need a solid secure server to protect your systems against remote attackers. Due to the innovative techniques available for modern cyber-criminals and a use-after-free vulnerability in the Microsoft solution, hackers from all across the globe can easily access login credentials anywhere at all, carry out ransomware attacks and run arbitrary code on the targeted systems.

Head-bangin’, booty-shakin’ rock squad CLUTCH have announced the fourth release in their series of live concert recordings, shared under the collective moniker PA Tapes.

Madison Square Garden, New York, NY 3/9/81 is a three-CD live album by the rock band the Grateful Dead. It contains the complete concert recorded at Madison Square Garden in New York City on March 9, 1981. It is scheduled to be released on September 23, 2022.

Like their first 'Beethoven for Three' release - 'Symphonies Nos. 2 & 5' - this recording challenges the traditional boundary between the chamber and orchestral repertoire to offer the listener two very different sides of the composer using the same three voices.

Folk Songs from the Eastern Counties is is the third in a series of four albums recording all 81 of the folk songs in English that Ralph Vaughan Williams arranged for voice and piano or violin. 57 of the 81 songs have not previously been recorded in these arrangements.

The second volume of Claudio Arrau’s mythical Beethoven concerto cycle conducted by Alceo Galliera and the Philharmonia Orchestra.

Paul Wranitzky moved to Vienna from his native Moravia at the age of 20, mixing with the likes of Haydn and Mozart. As the most important symphonist in Vienna in the late 1790s, his style influenced the early symphonies of Beethoven. The Symphony in D major ‘La Chasse’ reflects the popularity of hunting music, and is heard here for the first time in its expanded version. The overtures to Mitgefühl and Die gute Mutter represent Wranitzky’s skill as a composer for the theatre, as does the masterfully scored Symphony in C major in which the composer repurposes some incidental and ballet music.

After the first two instalments, highly praised by the press – ‘one of the finest, most . . . thrilling performances of [the] Fourth Concerto’, wrote Gramophone – Kristian Bezuidenhout, Pablo Heras-Casado and the Freiburger Barockorchester close their Beethoven trilogy with the classical yet already eminently personal Concerto no.1, and that masterpiece of intensity and drama, Concerto no.3. Once again, period instruments and historically informed performance practice reveal the astonishing modernity that early listeners found in these works!

What can we hear on this album? Firstly, a symphony that is only around nine minutes long, formally and tonally an Italian piece (with three merged movements). KV 181 in D major, composed in May 1773, shortly after the Milan premiere of “Lucio Silla”, begins with fanfares in Allegro spiritoso, followed by highly dramatic, expansive contrasts between major and minor, forte and piano, light and shadow, spanned over a “walking” bass, as well as effective dialogues between the first and second violins, which audibly emulate the tonal ideals of the Mannheim School. In the second movement, an Andantino grazioso, the solo oboe sings a melody that resembles a (two-part) opera aria. The Presto assai finale, a finely structured Rondo, uses dotted notes as it marches towards a happy end in a narrative that speaks to us without words.

The first two volumes of Anne-Marie McDermott's Mozart piano concerto cycle with the Odense Symfoniorkester have received a superb critical reception. Volume 3 of the series hears the great American pianist in Mozart's final piano concerto, K. 595, paired with Mozart's sparkling, heartbreaking E-flat concerto, K. 449. The Odense Symfoniorkester is led by the German conductor, Sebastian Lang-Lessing.