28 Results for : nominally

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    Lord Hawke was captain of Cambridge University, Yorkshire, and England in a time when, as A.A. Thomson observed, "there were giants in the land". His era is now lost to us, shrouded by the fog of war and by economic and social revolutions that would beggar the Victorian imagination. That despite everything English cricket not only survives in its traditional form, but thrives, is in no small measure the enduring achievement of three men, three eminent Victorians who devoted the greater part of their lives to cricket, and who largely determined the form in which it has come down to later generations: W.G. Grace, Lord Harris, and Lord Hawke. Tradition has it that W.G. Grace was the ultimate exponent of the game, that Lord Harris was its foremost administrator, and that Lord Hawke was its great exporter. Of Martin Bladen Hawke, seventh Baron Hawke of Towton, Sir Pelham "Plum" Warner was to say "he was the Odysseus of cricket" and that "he was the first to preach the gospel of cricket throughout the Empire". Hawke was an indefatigable organizer and leader of tours to Australasia, North and South America, India and Ceylon, South Africa, and the West Indies. But the exportation of cricket to the dominions was the beginning, rather than the end of his unique contribution to English cricket. The true object of his life’s work was the construction and consolidation of an indestructible cricketing institution; the Yorkshire County Cricket Club. Hawke first captained Yorkshire in the Championship in 1883. Although he nominally retained the captaincy until he formally resigned in favour of E.J. Radcliffe in November 1910, he played his last county match at the end of the 1909 season.The profit and loss account of the Yorkshire captaincy in the serious business of county cricket between 1883 and 1909 tells its own story. Yorkshire won the Championship eight times under Hawke’s stewardship. He was also the man who sacked Bobby ungekürzt. Language: English. Narrator: Jack Folley-Barwise. Audio sample: https://samples.audible.de/bk/acx0/237636/bk_acx0_237636_sample.mp3. Digital audiobook in aax.
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    Interlopers - book 1 of the Strangers Bureau Series is a novella introducing my new series of supernatural mysteries - The Strangers Bureau - featuring veteran Sûreté detective Eleanor Gerard and set in the now tranquil but historically blood soaked landscape of Northern France. Book 2 in The Strangers Bureau series - Pictures of Lily - is about the ghosts of the Western Front and the spirits of the ones they left behind. In Interlopers we discover that not all is well within the mysterious, ultra secretive Security Committee for Interloper Affairs.  For nearly a century, SCIA's work has remained a dark secret within the underbelly of French Governments through war and peace. Nominally acting under the direction of the Ministry of the Interior, the Security Committee for Interloper Affairs - the best kept secret of the Fifth Republic - has become a bloated, corrupt monster, a rogue organ of state whose senior officers are more preoccupied with their own personal aggrandisement and the preservation of SCIA's power, than any meaningful notion of service to the French state.  No French government has ever admitted the existence of SCIA and yet in Paris key members of the embattled socialist administration - confronted with poll ratings in free fall and a deepening economic crisis - has belatedly recognized that the Security Committee for Interloper Affairs is a loudly ticking time bomb. SCIA was created to quarantine, to hide, to render invisible a reality that no French Government has ever dared to confront.  Now is the time of reckoning when sooner rather than later, that reality will become public knowledge.  And when that happens, so too, will the scandal of the Security Committee for Interloper Affairs.  Acting under presidential decree three men meet clandestinely in a villa at Compiegne to belatedly begin to contemplate the unthinkable. ungekürzt. Language: English. Narrator: Madeline Clare. Audio sample: https://samples.audible.de/bk/acx0/209348/bk_acx0_209348_sample.mp3. Digital audiobook in aax.
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    Human habitation in the Japanese archipelago can be traced back to prehistoric times. The Jōmon period, named after its cord-marked pottery, was followed by the Yayoi in the first millennium BC, when new technologies were introduced from continental Asia. During this period, in the first century AD, the first known written reference to Japan was recorded in the Chinese Book of Han. Between the third century and the eighth century, Japan's many kingdoms and tribes gradually came to be unified under a centralized government, nominally controlled by the emperor. The imperial dynasty established at this time continues to reign over Japan to this day. In 794, a new imperial capital was established at Heian-kyō (modern Kyoto), marking the beginning of the Heian period, which lasted until 1185. The Heian period is considered a golden age of classical Japanese culture. Japanese religious life from this time and onwards was a mix of Buddhism and native religious practices known as Shinto. Over the following centuries the power of the emperor and the imperial court gradually declined and passed to the military clans and their armies of samurai warriors. The Minamoto clan under Minamoto no Yoritomo emerged victorious from the Genpei War of 1180–85. After seizing power, Yoritomo set up his capital in Kamakura and took the title of shogun. In 1274 and 1281, the Kamakura shogunate withstood two Mongol invasions, but in 1333 it was toppled by a rival claimant to the shogunate, ushering in the Muromachi period. During the Muromachi period regional warlords known as daimyō grew in power at the expense of the shogun. Eventually, Japan descended into a period of civil war. Over the course of the late sixteenth century, Japan was reunified under the leadership of the daimyō Oda Nobunaga and his successor Toyotomi Hideyoshi. After Hideyoshi's death in 1598, Tokugawa Ieyasu came to power and was appointed shogun by the emperor. The Tokugawa shogunate, which governed fro ungekürzt. Language: English. Narrator: Sean Lenhart. Audio sample: https://samples.audible.de/bk/acx0/070573/bk_acx0_070573_sample.mp3. Digital audiobook in aax.
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    Yugoslavia was arguably one of the most unusual geopolitical creations of the 20th century. The Yugoslav state had never existed in any historical sense, and the ties that bound together its constituent peoples were tenuous at best. Although nominally all “Slavs,” the country was an amalgamation of languages, alphabets, cultures, religions, and traditions, which ensured its short existence was littered with splits, conflicts, and shocking violence. In a sense, it’s somewhat surprising that it lasted as long as it did. In the wake of World War I, as the political boundaries of Europe and the Middle East were redrawn, the Kingdom of Yugoslavia, initially known as the Kingdom of Serbs, Croats and Slovenes, came into existence with a monarch as its head of state. Confirmed at the 1919 Versailles Conference, the “first” Yugoslavia was a particularly fragile enterprise, and there was almost constant tension between the majority Serbs and the other Yugoslav nationalities, especially the Croats. As a result, the Kingdom was a land of political assassinations, underground terrorist organizations, and ethnic animosities. In 1929, King Alexander I suspended democracy and ruled as a dictator until he himself was assassinated in 1934. The Kingdom of Yugoslavia was particularly vulnerable to the forces that engulfed the rest of Europe at the end of the 1930s, including fascism and communism. When the Axis forces attacked in 1941, the country quickly capitulated and was dismembered by the Nazis and their allies. A separate Croatian state was formed, led by Ante Paveli, who committed some of the worst crimes and human rights abuses of the war. The Balkan region was virtually emptied of its Jewish population, victims of the Nazi Holocaust. During his reign, Tito managed to quash the intense national feelings of the diverse groups making up the Yugoslavian population, and he did so through several methods. He managed to successfully play the two superpower riv ungekürzt. Language: English. Narrator: Colin Fluxman. Audio sample: https://samples.audible.de/bk/acx0/137432/bk_acx0_137432_sample.mp3. Digital audiobook in aax.
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    Yugoslavia was arguably one of the most unusual geopolitical creations of the 20th century. The Yugoslav state had never existed in any historical sense, and the ties that bound together its constituent peoples were tenuous at best. Although nominally all “Slavs”, the country was an amalgamation of languages, alphabets, cultures, religions, and traditions, which ensured its short existence was littered with splits, conflicts, and shocking violence. In a sense, it’s somewhat surprising it lasted as long as it did. In the wake of World War I, as the political boundaries of Europe and the Middle East were redrawn, the Kingdom of Yugoslavia, initially known as the Kingdom of Serbs, Croats, and Slovenes, came into existence with a monarch as its head of state. Confirmed at the 1919 Versailles Conference, the “first” Yugoslavia was a particularly fragile enterprise, and there was almost constant tension between the majority Serbs and the other Yugoslav nationalities, especially the Croats. As a result, the kingdom was a land of political assassinations, underground terrorist organizations, and ethnic animosities. In 1929, King Alexander I suspended democracy and ruled as a dictator until he himself was assassinated in 1934. The Kingdom of Yugoslavia was particularly vulnerable to the forces that engulfed the rest of Europe at the end of the 1930s, including fascism and communism. When the Axis forces attacked in 1941, the country quickly capitulated and was dismembered by the Nazis and their allies. A separate Croatian state was formed, led by Ante Pavelić, who committed some of the worst crimes and human rights abuses of the war. The Balkan region was virtually emptied of its Jewish population, victims of the Nazi Holocaust. From the beginning, fascism was opposed by two major groups in the region: the monarchist Chetniks and the communist Partisans. The latter, led by Josip Broz Tito and backed by the Democratic powers, emerged in the dominant po ungekürzt. Language: English. Narrator: Colin Fluxman. Audio sample: https://samples.audible.de/bk/acx0/129286/bk_acx0_129286_sample.mp3. Digital audiobook in aax.
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    Water in Nominally Anhydrous Minerals: ab 46.99 €
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    Oh, Joy! Oh, Rapture! New York Gilbert & Sullivan Players Albert Bergeret, conductor and music director 'Hail, hail, the gang's all here!' What better way to begin this sampling of our company's enthusiasm for G&S than with the original chorus from Pirates of Penzance whose melody was later borrowed for those familiar words? With cat-like tread TRACK 1 The Mikado the most popular of the G&S collaborations and only nominally Japanese, is one of several works for which Gilbert chose an exotic setting as a thin disguise for the English society of which he was making fun. Even Nanki-Poo's famed catalogue of song includes only standard English offerings, sentimental parlour ballads, martial music, and sea chanteys! A wand'ring minstrel I TRACK 2 Comes a train of little ladies TRACK 3 Three little maids from school TRACK 4 A more humane Mikado TRACK 5 Patience spoofs the Aesthetic movement (Whistler, Oscar Wilde) but, more broadly, the excesses of any fad or cult and it's mindless followers. In this piece, one of the idols gives a 'how to' recipe for posing successfully as a cult icon. Am I alone and unobserved? TRACK 6 H.M.S. Pinafore the 2nd full-length G&S collaboration (1878), is only half as long as The Mikado (1885). While later works became more subtle, complex, and elaborate, Pinafore has a palette of bright primary colors and needs no apology for it's relative simplicity, it is a model of brevity and clarity, and estabished the pattern of Gilbert's witty poking of fun at social and individual human foibles, perfectly set off by Sullivan's music. The more pretentious Titanic sank, but this saucy ship has proven virtually indestructible. Our selections are the pieces with which the characters introduce themselves. I am the Captain of the Pinafore TRACK 7 I'm called Little Buttercup TRACK 8 I am the monarch.. When I was a lad TRACK 9 The Yeomen of the Guard is the most 'operatic' of the Gilbet & Sullivan works, full of rich texture and subtle color. Sullivan's stirring overture is one of his finest orchestral settings. In the first chorus, a tough 16th century street crowd is brilliantly evoked by Gilbert's use of archaic vocabulary with alliteration and by Sullivans' use of hard driving rhythms with angular uneven meters, jarring dissonance and stark modal harmony. In 'I have a song to sing' each verse is longer than the last, it's structure finds many precedents in English folksong and was inspired by a sea chantey sung by the crewmen on Gilbert's yacht. The lyrics mirror the story of the opera's central love triangle the way Jack Point wishes it would turn out, the next selection, 'When a wooer goes a-wooing,' presents the reality of what actually happens. In between comes a paean to the grim glory of the Tower of London, where the story is set in a historical context. Overture TRACK 10 Here's a man...I have a song to sing, O TRACK 11 When our gallant Norman foes TRACK 12 When a wooer goes a-wooing TRACK 13 The Gondoliers presents a world where 'all is merry May.' It is as sunny and upbeat as Yeomen is shadowed. The first selection here is extracted from the ebullient 20-minute musical extravaganza that opens the work, rich in Italianate melodies and Italian lyrics to set the mood. The second selection poses a universal Gilbertian philosophic point: 'take life as it comes.' Buon giorno... We're called gondolieri TRACK 14 Try we lifelong TRACK 15 The Pirates of Penzance is the most 'child-friendly' of the G&S, with it's colorful pirates, comic police, and nearly non-stop action. It also contains the best-known and most often parodied pattersong and, in 'Poor Wand'ring One,' not only a splendid aria for a coloratura soprano but an example of one of Sullivan's deliberate and delicious borrowings from other composers, here, the classic 'Sempre libera' from La traviata. We leave you with the first, and still one of the best, of the G&S 'double choruses,' as the Victorian maidens rapturously romanticize 'death and glory' to the more realistically apprehensive policemen. Hail, Poetry TRACK 16 I am the very model TRACK 17 Poor wand'ring one TRACK 18 When the foeman bares his steel TRACK 19 New York Gilbert & Sullivan Players Albert Bergeret, Artistic Director Andrea Stryker-Rodda, Assistant Music Director and Rehearsal Accompanist Lucy Ito, Sally Small, Production Assistants Larry Tietze, Orchestra Manager NYGASP Ensemble SOPRANOS: Robin Bartunek, Meredith Borden, Kimilee Bryant, Susan Case, Charlotte Detrick, Lynelle Johnson, Margaretha Ohse, Laurelyn Watson, Lauren Wenegrat ALTOS: Lee Berman, Victoria Devany, Laura Koeneman, Melissa Parks, Ariane Reinhart, Angela Smith, Maariana Vikse, Lara Wilson TENORS: Michael Connolly, Thomas Donelan, Michael Galante, Michael Scott Harris, Alan Hill, Keith Jameson, Mark Montague, Larry Raiken, Paul Sigrist BARITONES/BASSES: Christopher Briggs, Louis Dall'Ava, Gary Dimon, Richard Holmes, Keith Jurosko, Lance Olds, Stephen Quint, Philip Reilly, Samuel Shaw, William Whitefield NYGASP Orchestra VIOLINS: Andrea Andros, concertmistress, Paula Flatow, Rachel Heineman, Valerie Levy, Maxim Moston, Eleanor Schiller, Svetoslav Slavov, Peter Van DeWater, William Zinn VIOLAS: Carol Benner, Carol Landon CELLOS: Daniele Doctorow, Amy Camus BASS: Deb Spohnheimer FLUTES: Laura George, Margaret Swinchoski, OBOE: Nancy Ranger CLARINETS: Larry Tietze, Joan Porter, Renee Rosen BASSOONS: Andrea Herr, James Jeter FRENCH HORNS: Heidi Garson, Peter Hirsch TRUMPETS: Terry Sizor, Richard Titone TROMBONES: Steve Shulman, Paul Geidel, Joseph Stanko PERCUSSION: Michael Osrowitz.
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    Big Scary Monsters present Under Summer by yndi halda due for release on the 4th March 2015. Eight-years on from 'Enjoy Eternal Bliss' Brighton based quintet yndi halda are now preparing to release their new album, 'Under Summer'. Having toured across the UK, Europe, USA and Asia, including shows at London's famed Barbican Hall, Koko and Union Chapel venues, and entirely selling out a short residency at Hoxton Hall, yndi halda's fervent and nominally patient fan base have been eagerly awaiting this new material. For those who were previously enthralled by the bands revered string-heavy and densely layered flavour of instrumental rock, there are seemingly endless new aural delectations to unearth and embrace in the bands intense second effort. Their music is at once subtle and joyous, hitting huge emotional peaks around moments of serene gentleness and heart-breaking sadness in its orchestration of sonorous guitar interlacing, meticulously crafted string arrangements and - now - soaring vocal harmonies. The sonic boundaries of 'Under Summer' are only limited by the bands collective imagination, and which sentiments they allow to permeate that individual creative talent. There may have been eight years of musical silence between the two albums, but this has allowed the band members individual life and subsequent cultural experiences to redefine the way the band can collectively compose and express themselves.
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