This most famous classical guitar piece includes two gorgeous big-hitters. The open and cheerful first movement is delicately overcome by the dark, romantic second.
One of the most notable operatic works of the 20th Century, Gershwin's classic is here given superb treatment by an all-star cast at Glyndebourne. This could be the ultimate harp disc. Plenty of major harp concertos are covered by a range of superb performers - fingers at the ready…. Two giants of the keyboard are well and truly tamed with uniquely powerful interpretations from Murray Perahia picturedall under the watchful baton of Sir Colin Davis. Well, Grieg doesn't get more lively than this.
These spirited dances are not only imbued with Grieg's homeland's dark beauty, but they're also played in rip-roaring style by the Estonian National Symphony Orchestra.
Glazunov was a crafty master of melody, and it takes a great orchestra to bring out the best of them. Fortunately, the Minnesota Orchestra are more than capable on this cracking disc. You really can't argue with Handel's Messiah, but there are so many recordings to choose from. Luckily, we've done the hard work and concluded that you can't go far wrong with this LPO double-disc special from John Eliot Gardiner manages to coax out the sinewy intensity of the opening from one of Haydn's most free-form and experimental works.
Involving and immersive stuff. Some of Haydn's best-loved symphonies performed with total ease and composure by a fantastic orchestra and Sir Colin at the height of his powers. A treat from beginning to end. Well, openings don't come much bigger than Mars, the opening movement from Holst's best-loved masterpiece. Sir Adrian Boult doesn't pull any punches, and makes sure the intensity is there from the very first note. This impeccable cast recording brings out every ounce of frivolity in Kern's score to Showboat - much underrated these days.
James Ehnes' inspired readings of these modern classics are to be cherished - three fantastic works played by a young violinist with energy and ideas to spare. This superb recording is full of verve and vigour, as well as some serious retro charm.
Along with the complete Chopin, this is basically an essential piano purchase. Bolet is an undisputed master of interpretation, and this exhaustive collection of Liszt works is a total treat.
Simon Rattle has made some unforgettable recordings of Mahler's Resurrection, but this one is the original and best. Another epic Mahler symphony, another epic performance.
George Szell takes a firm hand with the fourth, and the results are a taut, rewarding experience. Mahler's fifth is among his more popular and approachable works, but it still takes phenomenal orchestra and conductor to make it as accessible as it sounds here.
Haitink pulls out all the stops for this choral barnstormer. Mahler has rarely sounded so big as he does on this epic recording. One of history's greatest composers conducted by one of Britain's greatest composers - what's not to like? The trouble with Mozart recordings is that there are so many great ones to choose from.
But when it came to Mozart's darkest opera, no-one handles it better than the Philharmonia and Giulini. This riotous performance of one of the most famous operas of all time all the hits are present and correct is exhilarating stuff.
Grab a translation, sit down and get lost in it. From the jittering overture to the huge climax, The Marriage of Figaro is a masterclass in comic opera. And who better to show us how it's done than the Philharmonia under Giulini? When it comes to the Horn Concertos, everyone tends to flock to the big-hitter, the Rondo from concerto no.
But Dennis Brain makes them all sound like hits - he's just that good. The great Dennis Brain presides over these horn works, with typically attentive and able assistance from Herbert von Karajan. This performance has a fine vintage, featuring the great Benjamin Britten holding the baton and the equally great Richter at the keys, delivering all the fun and frolics of one of Mozart's best piano concertos.
The jubilation associated with the annual New Year's Day concert is well and truly captured here, with the traditional programme and Karajan's typically exuberant conducting.
The stormy Shakespearean relationship to end all relationships is duly thrashed by an effervescent Previn and the LSO - tenderness, stress and romance all the way. The bohemian idyll of Paris' Latin quarter is beautifully evoked by Puccini's score, but it's the cast that bring it to life on this scintillating recording. It's not one of Puccini's better-known operas, but Gheorgiu and Alagna are magnetic as the two leads, and Pappano makes a sterling contribution from the podium.
Maria Callas lights up La Scala with her radiant performance, but she is perfectly matched by the rest of the cast and, indeed, La Scala's Orchestra and Chorus. The great Stephen Hough presides over the Rach concertos with stylish flair, and the Paganini Rhapsody is every inch the romantic masterpiece under Litton's control. This beast of a symphony is wrangled under control by Andre Previn, and the results are typically stunning. Nice shirt on the cover, too.
Monster piano concertos, tamed by the fingers of Arturo Benedetti Michelangeli. What more could any discerning piano fan ask for? Who better than Herbert von Karajan to guide us through the orchestra works of Ravel, one of France's most lush and romantic composers?
This innovative work features recorded birdsong a gimmick from the era when loudspeakers were something of a noveltybut it's the gorgeous, atmospheric orchestral work that lingers longer in the memory. This exotic-sounding piece is given all the necessary heft and intrigue by the ever-listenable Gergiev.
Few people have more recognisable overtures to their name than Rossini, and here they're given glittering renditions on this fun disc from Giulini and the Philharmonia.
The Carnival of the Animals is always a joy to hear, but there's a great deal of maturity in this reading of the third symphony that makes it a real stand-out. Clifford Curzon blends perfectly with the Weiner Oktett here, lending just the right amount of impish fun and nagging beauty to Schubert's Trout. Sir Thomas Beecham turns these early Schubert symphonies into real monuments, with perfect clarity and infinite details to explore. Swallisch's attention to detail here is the perfect compliment to Schumann's dense writing, and he manages to bring out the tiniest details with ease.
The first symphony is among Shostakovich's most raw and confusing compositions, so Andre Kostelanetz makes it is brutally entertaining as possible. Scintillating stuff. This pairing of some of Shostakovich's best-known and least-known works is brought to life with attentive playing.
Elizabeth Schwarzkopf's fingerprints are all over this great recording, but she still lets Strauss' songs come to the fore. One of Strauss' most enduring works is given the Karajan treatment in this epic and rewarding recording.
The program area is With a scanning speed of 1. A disc with data packed slightly more densely is tolerated by most players though some old ones fail. Using a linear velocity of 1. The change in height between pits and lands results in a difference in the way the light is reflected. Because the pits are indented into the top layer of the disc and are read through the transparent polycarbonate base, the pits form bumps when read.
This causes partial cancellation of the laser's reflection from the surface. By measuring the reflected intensity change with a photodiodea modulated signal is read back from the disc. To accommodate the spiral pattern of data, the laser is placed on a mobile mechanism within the disc tray of any CD player. This mechanism typically takes the form of a sled that moves along a rail.
The sled can be driven by a worm gear or linear motor. Where a worm gear is used, a second shorter-throw linear motor, in the form of a coil and magnet, makes fine position adjustments to track eccentricities in the disk at high speed.
Some CD drives Various - Excedentes (CD) those manufactured by Philips during the s and early s use a swing arm similar to that seen on a gramophone.
This mechanism allows the laser to read information from the center to the edge of a disc without having to interrupt the spinning of the disc itself. The pits and lands do not directly represent the 0's and 1's of binary data. Instead, non-return-to-zero, inverted encoding is used: a change from either pit to land or land to pit indicates a 1, while no change indicates a series of 0's. There must be at least 2, and no more than 10 0's between each 1, which is defined by the length of the pit.
This, in turn, is decoded by reversing the eight-to-fourteen modulation used in mastering the disc, and then reversing the cross-interleaved Reed—Solomon codingfinally revealing the raw data stored on the disc. CDs are susceptible to damage during handling and from environmental exposure.
Pits are much closer to the label side of a disc, enabling defects and contaminants on the clear side to be out of focus during playback. Consequently, CDs are more likely to suffer damage on the label side of the disc. Scratches on the clear side can be repaired by refilling them with similar refractive plastic or by careful polishing. The data integrity of compact discs can be measured using surface error scanningwhich is able to measure the rates of different types of data errors, known as C1C2CU and extended finer-grain error measurements known as E11E12E21E22E31 and E32of which higher rates indicate a possibly damaged or unclean data Various - Excedentes (CD), low media quality, deteriorating media and recordable media written to by a malfunctioning CD writer.
Error scanning can reliably predict data losses caused by media deteriorating. Support of error scanning varies among vendors and models of optical disc drivesand extended error scanning known as "advanced error scanning" in Nero DiscSpeed has only been available on Plextor and some BenQ optical drives so far, as of The digital data on a CD begins at the center of the disc and proceeds toward the edge, which allows adaptation to the different size formats available.
Standard CDs are available in two sizes. By far, the most common is millimetres 4. Discs are 1. The official Philips history says this capacity was specified by Sony executive Norio Ohga to be able to contain the entirety of Beethoven's Ninth Symphony on one disc. Instead, however, the information density was lowered by 30 percent to keep the playing time at 74 minutes.
The format is a two-channel bit PCM encoding at a Four-channel sound was to be an allowable option within the Red Book format, but has never been implemented. Monaural audio has no existing standard on a Red Book CD; thus, the mono source material is usually presented as two identical channels in a standard Red Book stereo track i. CD-Text is an extension of the Red Book specification for an audio CD that allows for the storage of additional text information e.
The information is stored either in the lead-in area of the CD, where there is roughly five kilobytes of space available or in the subcode channels R to W on the disc, which can store about 31 megabytes.
These six bits store the graphics information. This extra data is stored in subcode channels R-W. Introduced init was developed by Sony and Philips, the same companies Various - Excedentes (CD) created the Red Book. CD- MIDI is a format used to store music-performance data, which upon playback is performed by electronic instruments that synthesize the audio.
For the first few years of its existence, the CD was a medium used purely for audio. However, inthe Yellow Book CD-ROM standard was established by Sony and Philips, which defined a non-volatile optical data computer data storage medium using the same physical format as audio compact discs, readable by a computer with a CD-ROM drive. Overall picture quality is intended to be comparable to VHS video. Poorly compressed VCD video can sometimes be lower quality than VHS video, but VCD exhibits block artifacts rather than analog noise and does not deteriorate further with each use.
This approximates the overall resolution of an analog VHS tape, which, although it has double the number of vertical scan lines, has a much lower horizontal resolution. While no specific limit on SVCD video length is mandated by the specification, one must lower the video bit rate, and therefore quality, to accommodate very long videos.
It is usually difficult to fit much more than minutes of video onto one SVCD without incurring significant quality loss, and many hardware players are unable to play video with an instantaneous bit rate lower than to kilobits per second. Launched inthe discs were designed to hold nearly high-quality images, scanned prints and slides using special proprietary Various - Excedentes (CD).
They are intended to play on CD-i players, Photo CD players, and any computer with suitable software irrespective of operating system. The images can also be printed out on photographic paper with a special Kodak machine. The Philips Green Book specifies a standard for interactive multimedia compact discs designed for CD-i players This format was supposed to be more compatible with older audio CD players.
Enhanced Music CD, also known as CD Extra or CD Plus, is a format which combines audio tracks and data tracks on the same disc by putting audio tracks in a first session and data in a second session. It was developed by Philips and Sony, and it is defined in the Blue Book. VinylDisc is the hybrid of a standard audio CD and the vinyl record. The vinyl layer on the disc's label side can hold approximately three minutes of music.
Inmaterial costs were 30 cents for the jewel case and 10 to 15 cents for the CD. This was done because the apparent value increased. The incremental cost, though, to produce an MP3 is negligible. A photosensitive dye is then applied, after which the discs are metalized and lacquer-coated. The write laser of the CD recorder changes the color of the dye to allow the read laser of a standard CD player to see the data, just as it would with a standard stamped disc.
CD-Rs follow the Orange Book standard. CD-R recordings are designed to be permanent. Over time, the dye's physical characteristics may change causing read errors and data loss until the reading device cannot recover with error correction methods. Errors can be predicted using surface error scanning. The design life is from 20 to years, depending on the quality of the discs, the quality of the writing drive, and Various - Excedentes (CD) conditions.
The recordable audio CD is designed to be used in a consumer audio CD recorder. CD-RW is a re-recordable medium that uses a metallic alloy instead of a dye. The write laser, in this case, is used to heat and alter the properties amorphous vs. The Red Book audio specification, except for a simple "anti-copy" statement in the subcode, does not include any copy protection mechanism. Known at least as early as attempts were made by record companies to market "copy-protected" non-standard compact discs, which cannot be rippedor copied, to hard drives or easily converted to other formats like FLACMP3 or Vorbis.
Philips has stated that such discs are not permitted to bear the trademarked Compact Disc Digital Audio logo because they violate the Red Book specifications. Numerous copy-protection systems have been countered by readily available, often free, software, or even by simply turning off automatic AutoPlay to prevent the running of the DRM executable program.
After the fall in popularity of CDs, old discs or failed CD-R have been repurposed, since the reflections of the sun on a moving plate may scare birds. From Wikipedia, the free encyclopedia. Redirected from Audio CDs. Optical disc format for the storage and playback of digital audio and other digital data.
For other uses, see CD disambiguation. The readable surface of a compact disc includes a spiral track wound tightly enough to cause light to diffract into a full visible spectrum. Optical disc Optical disc drive Optical disc authoring Authoring software Recording technologies Recording modes Packet writing Burst cutting area. Optical media types. See also. History of optical storage media High-definition optical disc format war. This section needs additional citations for verification.
Relevant discussion may be found on the talk page. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. May Learn how and when to remove this template message. A polycarbonate disc layer has the data encoded by using bumps. A shiny layer reflects the laser. A layer of lacquer protects the shiny layer. Artwork is screen printed on the top of the disc. A laser beam reads the CD and is reflected to a sensor, which converts it into electronic data.
This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Main article: Compact Disc Digital Audio. Main article: Super Audio CD. Main article: Video CD, Various - Excedentes (CD). Main article: Super Video CD.
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