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Dive into amazing adventures with new characters from Cut the Rope: Magic! In this episode, Om Nom climbs the beanstalk and finds out that he's not the only one frightened.

Enter the giveaway and get a chance to win super-cute Cut the Rope: Magic magnets (http://on.fb.me/1SQDA0E), just do the following:
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EWTN Global Catholic Television Network: Cara a Cara - Alejandro Bermúdez con el P. Alfredo Cioffi - La relación entre la ciencia y la fe

Rat dreams of a world where everything is made of cheese but when his dream seems to come true, he starts to have second thoughts.
Rat becomes the Prince of Cheese. But he soon discovers that a world of nothing but cheese is not as good as he thought it would be.

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Traveling faster than light is one of humanity’s dreams. Sadly, modern physics doesn’t cooperate. However there are examples where it really is possible to travel faster than light. In this video, Fermilab’s Dr. Don Lincoln tells us of these ways in which the universe breaks the ultimate speed limit.

Dr. Dan Hooper, a Theoretical Astrophysicist at Fermilab, explores the current status of the dark matter search and some new thoughts on the nature of this mystery.

A signal of gamma rays has been observed from the center of the Milky Way, and it may be the breakthrough that we have long been waiting for. If these gamma-rays are in fact being produced by the interactions of dark matter particles, they promise to reveal much about this elusive substance, and may be a major step toward identifying of the underlying nature of our universe's dark matter.

A new camera for the South Pole Telescope, called SPT-3G, will aid scientists in creating the deepest, most sensitive map yet of the cosmic microwave background, allowing them to peer more closely into the era of the universe just after the Big Bang.

The talented musician Erik Bosgraaf recorded the Complete Suites and Concertos for Recorder of Georg Phillip Telemann. This video contains the full album.

Tracklist below.
Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.....to/TelemannComplete
For physical sales: http://brilliantclassics.com/a....rticles/t/telemann-c
Listen on Spotify: https://open.spotify.com/album..../46zjwcVWCHGVYNVhu6I

Telemann’s concertos offer a unique combination of virtuosity, wit and sense of the theatrical. Having taught himself to play the instrument as a child, the German master had a special understanding of and fondness for the recorder, and for it he created a new hybrid form, the Suite auf Concertenart, which combines soloistic display with baroque dances.

These suites and concertos may be less overtly virtuosic than works in the same genre which were beginning to appear around the same time over the other side of the Alps, but Telemann yields nothing to his Italian counterparts in terms of melodic freshness and fertility. The suites are styled in the French manner, as a series of courtly dances, though the A minor Suite features a grand and tragic ‘Air in the Italian style’ and concludes with a snappy Polonaise – one of Telemann’s favourite dance rhythms – reeling away like an inspired tavern fiddler.

Erik Bosgraaf’s discography on Brilliant Classics ranges from Vivaldi (BC94637 – now also available on LP) to Boulez (BC94842), not to mention two previous sets of Telemann – the solo fantasias (BC93757) and sonatas with basso continuo (BC95247) – as well as more rarely encountered delights by Jakob van Eyck (BC93391). These discs and others have garnered both popular attention and critical praise. Of Bosgraaf’s own, composer-approved transcription of the Dialogue de l’ombre double by Boulez, Gramophone commented that ‘balance between recorders and electronics is ideally judged, giving this music an immediacy yet also intimacy beyond that of any other recorded option.’

Closer to the recorder’s natural home in music several centuries earlier, Julie Anne Sadie wrote in the same magazine about Bosgraaf’s ‘magical version of the ubiquitous Four Seasons. ‘A carefully researched and arrestingly translucent chamber interpretation… the rapport between solo and ripieno forces is simply fabulous.’
00:00:00 Ouverture Suite in E-Flat Major, TWV 55:Es2: I. Ouverture
00:07:56 Ouverture Suite in E-Flat Major, TWV 55:Es2: II. Menuet I & II
00:11:04 Ouverture Suite in E-Flat Major, TWV 55:Es2: III. Sarabande
00:12:49 Ouverture Suite in E-Flat Major, TWV 55:Es2: IV. Bourrée, en echo altern.
00:16:08 Ouverture Suite in E-Flat Major, TWV 55:Es2: V. Passepied I & II
00:17:57 Ouverture Suite in E-Flat Major, TWV 55:Es2: VI. Gavotte
00:18:56 Ouverture Suite in E-Flat Major, TWV 55:Es2: VII. Gigue
00:20:54 Ouverture Suite in A Minor, TWV 55:a2: I. Ouverture
00:29:35 Ouverture Suite in A Minor, TWV 55:a2: II. Les plaisirs
00:32:22 Ouverture Suite in A Minor, TWV 55:a2: III. Air à l’Italien
00:38:30 Ouverture Suite in A Minor, TWV 55:a2: IV. Menuet I & II
00:41:12 Ouverture Suite in A Minor, TWV 55:a2: V. Réjouissance
00:43:12 Ouverture Suite in A Minor, TWV 55:a2: VI. Passepied (I & II)
00:44:58 Ouverture Suite in A Minor, TWV 55:a2: VII. Polonoise
00:48:28 Recorder Concerto in F Major, TWV 51:F1: I. Affettuoso
00:51:14 Recorder Concerto in F Major, TWV 51:F1: II. Allegro
00:54:48 Recorder Concerto in F Major, TWV 51:F1: III. Adagio
00:57:14 Recorder Concerto in F Major, TWV 51:F1: IV. Menuet I & II
01:00:28 Recorder Concerto in C Major, TWV 51:C1: I. Allegretto
01:03:34 Recorder Concerto in C Major, TWV 51:C1: II. Allegro
01:07:22 Recorder Concerto in C Major, TWV 51:C1: III. Andante
01:11:13 Recorder Concerto in C Major, TWV 51:C1: IV. Tempo di menuet

Artist:
Erik Bosgraaf (recorder)
Ensemble Cordevento

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Her Excellency the Right Honorable Julie Payette, Governor General of Canada, visited the U.S. Department of Energy’s Fermi National Accelerator Laboratory on April 26, 2018. The Governor General toured the lab’s extensive research complex and celebrated the start of a new partnership between Fermilab and York University in Toronto in support of the Deep Underground Neutrino Experiment.

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.....to/PaganiniComplete
More Information: https://www.brilliantclassics.....com/articles/p/pagan
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Composer: Nicolò Paganini
Artist: Luigi Attademo (Guitar)
Nicolò Paganini’s works for guitar were only published in their entirety in 1989. The Genoese musician was a sensation during his lifetime and is still counted among the greatest violinists of all time, yet he was also an excellent guitarist. At the other end of the compositional spectrum to his works for violin, Paganini’s guitar works have a more intimate feel; not intended for the concert hall, they are often free from the virtuosic display that was typical of solo works of the era.

The Ghiribizzi collection contains a charm and simplicity appropriate to the musical proficiency and development of a young guitar student, concentrating on areas such as ornamentation, scalic exercises and pedal notes. The 37 Sonatas are a collection of two-movement pieces (with the exception of No.11 and Nos. 34–37); among the movements are charismatic minuets, mellow Andantinos and lilting waltzes. A further wealth of compositional variation can be found in the Guitar works MS85–105. The Grande Sonata, one of Paganini's most popular works, originally employed the violin as an accompaniment to the guitar; this collection provides a performance of the Sonata for solo guitar -- a real treat. The use of a period guitar for this recording adds a special quality to the collection.
Tracklist in the comment description.

Tracklist below.

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.to/MascagniMessa
More Information:
Brilliant Classics Spotify: https://open.spotify.com/user/....brilliantclassics?si
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Artist: Ensemble Seicentonovecento, Flavio Colusso (conductor)

Today Mascagni is best remembered for his verismo opera Cavalleria rusticana, a work which firmly belongs in many of the greatest opera houses’ core repertory, but his Messa di Gloria – which predates this composition by a matter of months and from which many of Cavalleria’s themes in fact derive – was also greatly lauded in its day. Mascagni’s interest in church music can be traced back to the days of his gifted adolescence: by the age of 13 he has written a Kyrie; at the age of 16 he refers in a letter to his involvement in composing a Mass (together with his friend Barbini); and during his student days in Milan he composed a motet as well as a great deal of music for the Messa per la festa di Maria SS. del Rosario. First performed in the Apulian town of Cerginola and conducted by the composer himself, a contemporary account of the Messa di Gloria described it as ‘a very powerful and original work, full of beauty, inspired by the requirements of modern taste’. In 1891 Mascagni repeated the peformance to an audience of 6000, as part of the celebrations marking the sixth centenary of Orvieto’s famous cathedral; such was the reception that the magazine Teatro illustrato declared the occasion ‘an event for the art of music in Italy’. Anyone expecting to hear a chorale, a fugue or even a simple fugato anywhere in the piece would have been disappointed, however, and doubts were raised regarding the religious nature of the work.

Instead, as the composer himself wrote, the Messa di Gloria can be described as a ‘prayer. The Mass is a prayer, all love and all passion!’ Here it is performed with aplomb by Ensemble Seicentonovento, an internationally renowned vocal-instrumental group that has recorded widely and appeared with such notable singers as José Carreras and Patrizia Pace. Iorio Zennaro and Pietro Spagnoli contribute well-executed arias to the mix as the respective tenor and bass soloists.

00:00:00 Messa di Gloria: Kyrie (Tenor, Bass, Chorus)
00:05:18 Messa di Gloria: Gloria (Tenor, Bass, Chorus)
00:07:00 Messa di Gloria: Gloria. Laudamus (Tenor, Chorus)
00:11:25 Messa di Gloria: Gloria. Gratias (Bass)
00:16:30 Messa di Gloria: Gloria. Domine Deus (Tenor, Bass)
00:18:48 Messa di Gloria: Gloria. Qui tollis (Tenor)
00:23:11 Messa di Gloria: Gloria. Qui sedes (Bass)
00:27:30 Messa di Gloria: Gloria. Quoniam (Tenor, Bass, Chorus)
00:28:42 Messa di Gloria: Gloria. Cum Sancto Spiritu (Tenor, Bass, Chorus)
00:29:51 Messa di Gloria: Credo (Chorus)
00:31:32 Messa di Gloria: Credo. Et incarnatus (Tenor, Chorus)
00:35:07 Messa di Gloria: Credo. Et resurrexit (Tenor, Bass, Chorus)
00:38:12 Messa di Gloria: Sanctus (Tenor, Chorus)
00:40:21 Messa di Gloria: Sanctus. Elevazione
00:44:08 Messa di Gloria: Sanctus. Benedictus (Bass)
00:47:15 Messa di Gloria: Sanctus. Hosanna (Chorus)
00:47:53 Messa di Gloria: Agnus Dei (Tenor, Bass, Chorus)

Tracklist below.

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.....to/KhachaturianBall
More Information: https://www.brilliantclassics.....com/articles/k/khach
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Composers: Aram Ilyich Khachaturian
Artists: Bolshoi Theatre Orchestra, Evgeny Svetlanov (conductor)

Along with Shostakovich and Prokofiev, Khachaturian was one of the most famous and celebrated composers of the Soviet Union. Born in Tbilisi, Georgia, his earliest musical influences were the folk music of Georgia and of his ancestral homeland, Armenia. His ballet Gayaneh, composed in 1942, tapped into this passion for his Armenian heritage; set on a collective farm, its story is concerned with the triumph of love and loyalty to the Motherland over treason – themes that would keep Stalin happy. Khachaturian’s later ballet Spartacus, written in 1956, took the famous story of the Greek slave turned gladiator and his defeat of the Roman general Crassus as its basis. Composed in the dying years of Stalin’s rule, Khachaturian and his audiences were drawn to the story’s theme of resistance against tyranny.

Several movements from these ballets have taken on a life outside the original ballet suites – for example, the Sabre Dance from Gayaneh and the famous Adagio from Spartacus – ensuring that these wonderful and colourfully scored ballet suites have become firm favourites in the concert hall.

‘The Bolshoi orchestra are obviously completely at home in this repertoire, and Svetlanov’s ear for orchestral detail is as sure as ever. How beautifully he handles the tapering down at the end of the ‘Dance of the Nymphs’ (from Spartacas), while the opening of the ‘Dance of the Young Girls of Gadès’ brings a slow, subtle crescendo… The famous ‘Adagio of Spartacus and Phrygia’ has never sounded more touchingly refined on record and the climax does not disappoint. In Gayaneh there is a beguilingly sinuous sophistication in ‘Ayesha’s dance’, and the ‘Lullaby’ and ‘Gayeneh’s Adagio’ are beautifully played, creating much delicacy of texture.’ Gramophone.

00:00:00 Gayaneh, Ballet Suite: Dance of the Rose Maidens
00:02:41 Gayaneh, Ballet Suite: Aysha’s Dance
00:07:04 Gayaneh, Ballet Suite: Dance of the Highlanders
00:09:01 Gayaneh, Ballet Suite: Lullaby
00:14:54 Gayaneh, Ballet Suite: Noune’s Dance
00:16:39 Gayaneh, Ballet Suite: Armen’s Var
00:18:37 Gayaneh, Ballet Suite: Gayaneh’s Adagio
00:22:37 Gayaneh, Ballet Suite: Lezghinka
00:25:35 Gayaneh, Ballet Suite: Dance with Tambourines
00:28:35 Gayaneh, Ballet Suite: Sabre Dance
00:30:58 Spartacus, Ballet Suite: Introduction – Dance of the Nymphs
00:37:02 Spartacus, Ballet Suite: Aegina’s Dance
00:41:02 Spartacus, Ballet Suite: Scene and Dance with Crotalums
00:44:55 Spartacus, Ballet Suite: Adagio of Spartacus and Phrygia
00:54:38 Spartacus, Ballet Suite: Dance of the Gaditan Maidens – Victory of Spartacus

Adrienne Kolb, former Fermilab archivist and historian, came to live at the laboratory in 1983 with her husband, their three children and their dog. On-site country living included frequent science conferences, regular encounters with wildlife and lively, neighborly gatherings.

El director del Grupo ACI, Alejandro Bermúdez, nos ofrece a diario reflexiones en audio y vídeo sobre temas de actualidad en los que los católicos necesitamos tener una posición clara e informada. Compártelo con tus amigos, tu comunidad o en tu medio de comunicación católico.
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Tracklist below.

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play): https://brilliant-classics.lnk.....to/ErichSaxerDrucke
More Information: https://www.brilliantclassics.....com/articles/e/erich
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While J.S. Bach, along with Buxtehude, has long been considered the father of Baroque organ music in northern Germany, organ music connoisseurs today have started to look beyond the established canon of this time to the great composer’s contemporaries. Particularly interesting are three German composers who were also active around the same time as Bach: Erich, Saxer and Druckenmüller, whose complete works (as discovered in manuscript form) feature on this release.
All three were unusual in that they came from provincial areas of Germany rather than being based in a thriving cultural centre like Hamburg or Lübeck. Druckenmüller – just two years younger than Bach – was highly unusual in publishing completely original Concertos for organ solo, in contrast to Bach’s settings of established chorale tunes that were the norm. The Concertos – all fast–slow–fast – are written in the style that was fast becoming the established one in Germany, the Italian Style. Slightly younger was Georg Saxer, whose style was starting to reflect the new galant Rococo. His Preludes, followed by a long Fugue, reflect new tensions with dominant seventh chords that seem to hang in the air, creating moments of suspense. Daniel Erich – more of Buxtehude’s time than Bach’s – wrote chorale preludes, of which only four survive. They reveal a composer full of expressivity and elegance in the way he embellishes the theme, whether in the soprano or the pedal. His original compositions show a remarkable originality as well as knowledge of the idiomatic writing of the time.
Italian organist Manuel Tomadin’s passion for these undiscovered composers comes across clearly in this release. He has specially chosen a Baroque organ by Arp Schnitger, the most important organ builder of the period, who worked closely with both Saxer and Druckenmüller during his life, making this a wonderfully authentic recording.
This new recording features the magnificent Schnitger organ of the St. Michael Church in Zwolle, the Netherlands. It was built in 1721 by Arp Schnitger and his sons, and after careful restoration over the last decades by Flentrop the organ is restored in its full glory, one of the finest examples of the Golden Age of organ building, the Baroque.
The works on this recording are derived from the Husumer Orgelbuch (Husum organ book), a collection of organ works by North German major and minor masters. Presented are substantial Preludes by Georg Wilhelm Saxer, Choralvorspiele by Daniel Erich and two Concertos by Wolfgang Druckenmüller, written in the Italian style, as original compositions and not as transcriptions of Italian Concerti grossi, as was the custom of that period.
Manuel Tomadin is one of the foremost Italian organists, a scholar, teacher and passionate musician. He won the Grand Prix of the Schnitger Organ Competition of Alkmaar in 2011, and recorded several CD’s for Brilliant Classics, among which the complete keyboard works by Alberti (BC95161). He wrote the excellent liner notes for the booklet, which also contains all information on the organ.
 
00:00:00 Christum wir sollen loben schon
00:02:48 Es ist das Heil uns kommen her
00:05:10 Allein zu dir, Herr Jesu Christ
00:10:00 Praeludium et Ciaccona in D Major: I. Praeludium
00:12:30 Praeludium et Ciaccona in D Major: II. Ciaccona
00:18:53 Concerto in A Major: I. Allegro
00:22:03 Concerto in A Major: II. Siciliana
00:23:23 Concerto in A Major: III. Vivace
00:26:35 Concerto in F Major: I. Allegro
00:28:36 Concerto in F Major: II. Adagio
00:30:10 Concerto in F Major: III. Vivace
00:32:41 Concerto in D Major: I. Allegro
00:35:54 Concerto in D Major: II. Largo
00:37:48 Concerto in D Major: III. Vivace
00:39:14 Concerto in G Major: I. Allegro
00:42:19 Concerto in G Major: II. Adagio
00:44:00 Concerto in G Major: III. Allegro
00:45:52 Praeludium in D Major
00:54:43 Praeludium in B-Flat Major
01:00:20 Praeludium in F Major
01:06:51 Praeludium in D Major
01:13:17 Praeludium in E Minor

Artist
Manuel Tomadin (organ)