I first heard Eugene Gigout's pipe-organ masterpiece, the <I>Grand Chorus in Dialogue</I>, in the Smetana Concert Hall of Prague's Municipal House (Obecnim Dome) on a Saturday evening before the 2002 flood. I recall seeing the delicate, youthful Michele Hradecka sway from side to side to reach the pedals. In response, a massive wall of deep organ chords shook the hall, the magical acoustic blending the delicate, extended highs with the thunderous bass. But this memory mixed the music with the beauty of Prague's soaring church spires, brilliant red terracotta roofs, and lavish palaces.

I first heard Eugene Gigout's pipe-organ masterpiece, the <I>Grand Chorus in Dialogue</I>, in the Smetana Concert Hall of Prague's Municipal House (Obecnim Dome) on a Saturday evening before the 2002 flood. I recall seeing the delicate, youthful Michele Hradecka sway from side to side to reach the pedals. In response, a massive wall of deep organ chords shook the hall, the magical acoustic blending the delicate, extended highs with the thunderous bass. But this memory mixed the music with the beauty of Prague's soaring church spires, brilliant red terracotta roofs, and lavish palaces.

I first heard Eugene Gigout's pipe-organ masterpiece, the <I>Grand Chorus in Dialogue</I>, in the Smetana Concert Hall of Prague's Municipal House (Obecnim Dome) on a Saturday evening before the 2002 flood. I recall seeing the delicate, youthful Michele Hradecka sway from side to side to reach the pedals. In response, a massive wall of deep organ chords shook the hall, the magical acoustic blending the delicate, extended highs with the thunderous bass. But this memory mixed the music with the beauty of Prague's soaring church spires, brilliant red terracotta roofs, and lavish palaces.

I first heard Eugene Gigout's pipe-organ masterpiece, the <I>Grand Chorus in Dialogue</I>, in the Smetana Concert Hall of Prague's Municipal House (Obecnim Dome) on a Saturday evening before the 2002 flood. I recall seeing the delicate, youthful Michele Hradecka sway from side to side to reach the pedals. In response, a massive wall of deep organ chords shook the hall, the magical acoustic blending the delicate, extended highs with the thunderous bass. But this memory mixed the music with the beauty of Prague's soaring church spires, brilliant red terracotta roofs, and lavish palaces.

I first heard Eugene Gigout's pipe-organ masterpiece, the Grand Chorus in Dialogue, in the Smetana Concert Hall of Prague's Municipal House (Obecnim Dome) on a Saturday evening before the 2002 flood. I recall seeing the delicate, youthful Michele Hradecka sway from side to side to reach the pedals. In response, a massive wall of deep organ chords shook the hall, the magical acoustic blending the delicate, extended highs with the thunderous bass. But this memory mixed the music with the beauty of Prague's soaring church spires, brilliant red terracotta roofs, and lavish palaces.

I first heard Eugene Gigout's pipe-organ masterpiece, the <I>Grand Chorus in Dialogue</I>, in the Smetana Concert Hall of Prague's Municipal House (Obecnim Dome) on a Saturday evening before the 2002 flood. I recall seeing the delicate, youthful Michele Hradecka sway from side to side to reach the pedals. In response, a massive wall of deep organ chords shook the hall, the magical acoustic blending the delicate, extended highs with the thunderous bass. But this memory mixed the music with the beauty of Prague's soaring church spires, brilliant red terracotta roofs, and lavish palaces.

Linn's early decision to develop hard-disk audio systems first got our attention when the Kivor project <A HREF="http://www.stereophile.com/news/10645/">was announced</A> back at the 2000 Consumer Electronics Show. The Linn Kivor has now spent almost two years on the market, garnering a positive <A HREF="http://www.stereophile.com//digitalsourcereviews/497/">review</A&gt; from John Atkinson and a special "Editor's Choice" mention in this month's 2002 Products of the Year.

When do fractions of pennies add up to millions of dollars? Answer: When they are accumulated unpaid royalties for one of the most popular albums of all time.

How much does it cost to license DVD-Audio patents to create players or discs? That information was revealed last week when the <A HREF="http://www.dvd6cla.com">DVD6C Licensing Agency</A>, which represents the founders of the DVD Forum (formerly called the DVD Consortium) in the area of patent licensing, announced that it expects to start global licensing of essential patents for DVD-Audio and recordable DVD products on or about January 1, 2003.