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F.E.A.R. (First Encounter Assault and Recon), is an intense first person close-quarters combat experience with rich atmosphere and an engaging storyline. The story begins as an unidentified paramilitary force infiltrates a multi-billiondollar aerospace compound. The government responds by sending in Special Forces, but loses contact as an eerie signal interrupts radio communications. When the interference subsides moments later, the team has been literally torn apart. As part of a classified strike team created to deal with threats no one else can handle, your mission is simple: Eliminate the intruders at any cost. Determine the origin of the signal. And contain this crisis before it spirals out of control.

The son of the peerless Johann Sebastian, Wilhelm Friedemann was the least famous Bach of his time. Yet he is now regarded by some as the most brilliant of the Bach children, and is occasionally reported to have been his father's favourite. A master of numerous different keyboard instruments, he was not particularly prolific, and of his 100 or so known works, many remained unprinted until the 20th century.

F.E.A.R. (First Encounter Assault and Recon) is a first-person close-quarters combat game for the PC. The story begins when a paramilitary force infiltrates a multi-billion dollar aerospace compound, and the government responds by sending in Special Forces. The group loses contact with the government when an eerie signal interrupts radio communications–and when that interference subsides moments later, the team has been destroyed. That's where you come in. As part of a classified strike team created to deal with threats no one else can handle, your mission is simple: eliminate the intruders at any cost, determine the origin of the signal, and contain the potential crisis before it gets out of control.

Wilhelm Friedemann Bach, Johann Sebastian Bach’s oldest son, enjoyed a reputation as one of Germany’s finest organists, but his career was one of mixed fortunes and he died in poverty. The dating of his Six Duets is the subject of speculation, but their level of technical sophistication is quite remarkable. Each instrument is given equal status in music that is full of the kind of joyous brilliance, passion and free-mindedness of spirit that transcends virtuosity and the stylistic boundaries of W.F. Bach’s period.

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For a production at the King's Theatre, Handel had created a mixed version of his Italian serenata Aci, Galatea e Polifemo HWV 72 and the English masque Acis and Galatea HWV 49a, which was performed semi-staged several times in 1732 with a star cast (including Senesino) to great acclaim. For today's ears, the musically attractive version HWV 49b suffers not least from the mixture of English and Italian text. In keeping with Handel's intentions, a purely Italian version was created here with additions from Italian works by the composer. The result is as convincing musically as it is scenically and would have deserved its own number in the catalogue of works.