Can Lin

Automotive communication protocols : CAN, LIN and FLEXRAY

Multiplexed networks are essential for the unified, efficient and cost-effective exchange of electronic information within embedded component systems.

Automotive Communication Protocols:CAN and LIN (Controller Area Network and Local Interconnect Network)

The music of Ukrainian composer Valentin Silvestrov is a unique and delicate tapestry of dramatic and emotional textures, that freely alludes to the entire history of music. "I do not write new music. My music is a response to and an echo of what already exists," Silvestrov has said. Beginning his creative career in the radical Soviet Avant-Garde, Silvestrov demonstrated an almost painful sensitivity to the intimacy that music can create between performer and listener. Silvestrov would later refute his modernist roots, saying “the most important lesson of the Avant-Garde is to be free of all conceived ideas, particularly those of the Avant-Garde” and began composing a series of works entitled “Postludium” that initiated the elegiac, poetic and highly personal relationship with silence which has come to characterize his most recent music. Haenssler Classic is proud to present pianist Jenny Lin in the World Premiere Recording of Silvestrov’s “Three Postludes”, a work composed especially for her.

Performed here by pianists Jenny Lin and Adam Tendler, Liszt’s rarely heard Harmonies poétiques et religieuses is a sublime example of Liszt’s early compositions. Lin and Tendler alternate movements of this monumental piano cycle. 'We’re raised on this stuff. It’s in our bones. And now we can come at this music with a different kind of lens.' — Adam Tendler 'This is definitely a very private Liszt, one who’s retreated to his inner self.' — Jenny Lin

Chen was China's first woman to be awarded a master's degree in composition; she often incorporates Chinese instruments and melodies in her music. Born in the southern Chinese city of Guangzhou, Chen Yi (b. 1953) learned the violin at a young age and continued to play the instrument up to her graduate student years at Columbia University in the late 1980s. In fact, during the Cultural Revolution, Chen had continued to practise the violin even after having been sent to the countryside. By the early 1970s, she had returned to the city where she served as violinist with the local operatic troupe. All of these experiences provided inspiration for the compositions featured on this CD, whether in borrowed operatic and folk tunes, calligraphic gestures, huqin fiddling techniques, imitative sonorities of Chinese traditional instruments (sheng, suona, xiao or qin), inventive use of percussion, or in the vivid depiction of nature. Chen has lived and breathed Chinese operatic tradition and folk culture for decades, while at the same time steeping herself in the study of the Western canon of music.

His 18 piano sonatas can be described as the secret stars of Wolfgang Amadeus Mozart's extensive work - they were often important fields of experimentation, which in Mozart's short biography describe a development from early Rococo to classical maturity, in which he explored new composition techniques and then later developed them the larger genera transmitted. This is exemplified by the three new works recorded by Amy Lin in the well-known sensitive way: The Sonata KV 333 emphasizes the lyrical-pastoral. In KV 284, the 18-year-old composer already establishes the alternation between “quasi-tutti” modeled on the orchestral setting and soloistic passages in dialogue-like interplay. The famous C minor sonata KV 457, which Beethoven so admired, shows a completely different, dark, dramatic tone and thus Mozart's fascinating variety of styles in this genre too.