The Computer Music Tutorial is a comprehensive text and reference that covers all aspects of computer music, including digital audio, synthesis techniques, signal processing, musical input devices, performance software, editing systems, algorithmic composition, MIDI, synthesizer architecture, system interconnection, and psychoacoustics. A special effort has been made to impart an appreciation for the rich history behind current activities in the field. …
Incredibly gifted and prolific soloist Gladys Knight released her first inspirational album in 1998. While many of her past albums carried music of significance, rightfully earning her a place in the Rhythm & Blues Hall of Fame and the Rock & Roll Hall of Fame, this is the first album on which she focused entirely on the spiritual side of music. And yes, this is the same Gladys Knight as Gladys Knight & the Pips. As one would expect from a seasoned artist like Knight, the entire album is musically sound from a critic's standpoint, and the messages of the lyrics leave an indelible impression on the listener.
Joyce Di Donato and Maite Beaumont are outstanding as the devoted couple tormented by Tiridate’s abuse of power. Their flexible and agile voices are ideally displayed in the opening scenes of Act 2 – Beaumont’s sublime ‘Quando mai’ followed by Di Donato’s powerful ‘Ombra cara’. Patrizia Ciofi is suited to the moods of the Tiridate’s long-suffering wife. Dominique Labelle is the most rounded and ideally equipped Handel soprano in the cast: the music effortlessly trips off her tongue in ‘Mirerò quel vago volto’… Alan Curtis directs with superb pace and judgement. He is a successful advocate for Handel’s first version of Radamisto, although in Act 3 he uses two pieces from the second version for dramatic reasons. I wonder how Polissena’s original climactic aria ‘Sposo ingrato’ might sound instead of the exclamatory ‘Barbiro, partirò’, but I cannot fault Curtis’s decision to opt for the more dynamic later aria. Il Complesso Barocco play neatly and sympathetically support the singers. The orchestra avoids forcing rhetorical effects too much but I wish it had mined the textural richness in Handel’s score a little deeper. However, this enjoyable performance lacks nothing essential in theatrical impact and musical drive. (David Vickers, Gramophone)
Alan Curtis, lauded by Opera as one of our finest conductors of Baroque opera, illumines Handel s masterpiece, Alcina, by casting, as heroine, the brilliant Joyce DiDonato. Since Alcina is historically dared by virtuosic sopranos like Sutherland and Battle, this innovative recording with a mezzo is a must-have not just for Alcina freaks but all who adore sensational vocalism. As Handel did in his time, Curtis arrays our era s finest Baroque singers such as Maite Beaumont and Karina Gauvin in supporting roles around his star. With this electrifying Alcina, first ever studio recording of the rarely heard Ezio and Rolando Villazón s new album, Handel Year 2009 is being exceptionally well feted by Deutsche Grammophon.