Instruments in The Redeemer's Hands

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.

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.

This recording is a re-issue of the romantic chamber music recording that Lydia Mordkovitch made in 1989 with the pianist Marina Gusak-Grin. It featured pieces for violin by such famous composers as Wagner, Rachmaninoff, and Chausson, neither of whom played the violin or favoured it as a solo instrument. If there were any doubts about the lyrical potential of the violin, however, this would be an album to confirm its true status as the poet among instruments. The prime example is Chausson’s Poème – a title applied to the whole collection, as the other pieces make the same point. Two pieces complement this recording: the one movement sonata of 1897 (the Sonate posthume) by Ravel, which was both his first chamber work and his first attempt at sonata form, and Sospiri, Op. 70, Elgar’s last short piece for violin and piano. These pieces were recorded in 1989 and 1996, respectively.

Meet the new member of the Vertigo family: Vertigo Viola. A wonderful symphonic instrument that adds raw depth, intensity and vulnerability to your music.

Chaos and Creation in the Backyard is the thirteenth solo studio album by Paul McCartney, released on 12 and 13 September 2005. Some 18 months in the making, the album was produced by Radiohead and Beck collaborator Nigel Godrich at George Martin's suggestion. McCartney plays almost all of the instruments, similar to his 1970 album McCartney, the 1980 McCartney II album and the 2020 McCartney III album. In addition, Chaos and Creation in the Backyard marks the first time since 1984's Give My Regards to Broad Street that McCartney was not credited as producer or co-producer of one of his studio albums. Chaos and Creation in the Backyard was McCartney's last rock album release for longtime label EMI. He signed a deal with Hear Music, owned by Starbucks, in March 2007. He later returned to his old label Capitol Records in 2016.

KOMPLETE 6 brings together seven cutting-edge products that no studio should be without. Containing groundbreaking and multi-awarding samplers, synths, guitar/bass amps and creative effects, this collection represents Native Instruments' most powerful software tools.

From hip-hop to film scores, pop to techno, rock to classical and beyond – KOMPLETE 6’s 7,000 presets and 60 GB of samples have it all covered. Everything from dirty synths to heavenly choirs, pounding drums to full orchestras, subtle pads to screaming leads – it’s all ready to play in premium quality.