Instruments in The Redeemer's Hands

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This fourth, full-length album of music by multi award-winning composer Simon Holt on NMC showcases his highly narrative orchestral compositions. His violin concerto ""Witness to a Snow Miracle"" - here performed by the prodigiously taltned Chloe Hanslip - depicts the story of the life, and particularly gruesome death, of St. Eulalia of Merida. From the initial, frenzied cadenza in the solo violin we get a sense of the torment and horror the saint suffered at the hands of the Romans: her flesh torn with hooks, flames applied to the wounds, and her body buried in hot coals. A blanket of snow fell on her ashes, at which point she was declared a saint. Holt's other award-winning concerto on this album is a much more upbeat and quirky affair.

Jazz reflects my life…the most detailed account of how a beautiful and special day unexpectedly became the beginning of the production of “After The Rain,” my new recording.

This book offers a history of the instrumentation used to materialize the early thought experiments devised in the Einstein-Bohr disputes over the foundations of quantum mechanics. It shows how the second world war and cold war fostered the development of materials, instruments, and systems that made it possible to create, manipulate, and detect single quantum systems, thus creating the material conditions for experiments in foundations of quantum mechanics and for a broad spectrum of experimental inquiries on the structure and properties of matter which underlay the creation of new research fields such as quantum optics, quantum information, and atomic, molecular, and optical physics. Discussing research and development performed in diverse contexts, this book reveals how physicists carried instruments, and the knowledge they embodied, through disciplinary and geographic frontiers to probe entanglement, a most intriguing feature of the quantum world.

This fourth, full-length album of music by multi award-winning composer Simon Holt on NMC showcases his highly narrative orchestral compositions. His violin concerto witness to a snow miracle here performed by the prodigiously talented Chloë Hanslip depicts the story of the life, and particularly gruesome death, of St Eulalia of Merida. From the initial, frenzied cadenza in the solo violin we get a sense of the torment and horror the saint suffered at the hands of the Romans: her flesh torn with hooks, flames applied to the wounds,and her body buried in hot coals. A blanket of snow fell on her ashes, at which point she was declared a saint.

In the coming decades, astrophysical science will benefit enormously from the construction and operation of several major international ground- and space based facilities, such as ALMA, Herschel/Planck, and SKA in the far infrared to radio band, Extremely Large Telescopes, JWST and GAIA in the optical to near infrared regime, XEUS and Constellation-X in the X-ray, and GLAST in the Gamma-ray regime. These and other new instruments will have a major impact in a wide range of scientific topics including the cosmological epoch of reionization, galactic dynamics and nuclear activity, stellar astronomy, extra-solar planets, gamma-ray bursts, X-ray binaries, and many others.

The first volume in a series combining Radulescu’s complete Piano Sonatas and String Quartets, there are six of each, on Mode performed by the superb JACK Quartet and Stephen Clarke (piano). In the 1970s, Horatio Radulescu (1942-2008) began exploring and composing begun composing what he called “plasmatic music,” in which sound was conceived as an “endless ocean of vibrations,” as opposed to the traditional way in which music treats sound as a fabric of discrete scale steps. His music is linked to the “spectral music” school. Radulescu’s Fifth String Quartet is one of the key works in his output. It is in some ways the richest manifestation of the body of string techniques he had developed for his music. The Second Piano Sonata is inspired by the Tao of Chinese philosopher Lao Tzu (6-5 BC). The first movement, “Immanence,” opens with a powerful sonority built from spectral functions which gives a sense of immensity and strength. The Fifth Piano Sonata makes abundant use — more so than any of the other sonatas — of Romanian folk material, which is absorbed and integrated into Radulescu’s spectral language.