42 Results for : florid
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Breathing on Her Own , Hörbuch, Digital, ungekürzt, 399min
An icy road and a sharp turn leave one woman dead, another clinging to life.Molly Tipton looks forward to a peaceful retirement, but her life suddenly spirals out of control when her oldest daughter is involved in a terrible accident. While two families grieve, details emerge that shake Molly to her core. As she prepares her daughter for what lies ahead, Molly discovers her oldest child is not the only one injured and forced to deal with past mistakes.If it’s true that time heals all wounds, what are we to do with our scars?Praise for Breathing on Her Own“Lean, not florid, genuine, not sappy, reflective, not preachy, familiar, not clichéd, satisfying, not contrived: what more could one ask of a contemporary novel from a first-time novelist? Readers of Breathing on Her Own will enjoy a story that feels close to home, in the tradition of writers like Anne Tyler. We know the people in this story. They are friends, neighbors, family, even ourselves. I expect that when readers finish this book, they will ask Dr. Waters when they can read her next one. That’s certainly my question.” (Jon Weatherly, Vice President for Academic Affairs/Provost Johnson University)“Entertaining, challenging, and realistic. Breathing on Her Own brings us face-to-face with what we really believe through the eyes of one woman’s journey with hope and resilient faith as the backbone of the story.” (Drew Waters, actor, director, producer; star of The Ultimate Life and The Redemption of Henry Meyers as well as recurring roles on Saturday Night Lights and NCIS) ungekürzt. Language: English. Narrator: Zion Recording. Audio sample: https://samples.audible.de/bk/acx0/197451/bk_acx0_197451_sample.mp3. Digital audiobook in aax.- Shop: Audible
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3 french shorts stories, Hörbuch, Digital, 167min
Herodias, "Dance of death" and "The Legend of Saint Julian The Hospitalier" : 3 French short stories by Gustave Flaubert. "Herodias" is a short story by Gustave Flaubert, one of the great masters of French literature. It is a reworking of the tale of Salomé and John the Baptist, in which faith and cruelty are blended in a deadly dance culminating in tragedy. A stylistic masterpiece, with orientalist sensuality and an inspired dive into religious fervor, this short story brings the ancient era to the most colorful possible life. "Dance of Death" is a prose poem in which Death laments over the cruel task God has given him. Engaging in a dialogue with Satan, and later Nero as one of Satan's first minions, Death suggests that of the two of them, Satan has the more enviable lot, as his work will one day be done and he will have rest. "Dance of Death" is impregnated with the spirit of romanticism, which had a powerful hold on the mind of Flaubert at the time of its writing. Its florid prose makes it a very interesting curiosity for the reader wishing to know a younger Flaubert, who would only later become the famous author of Madame Bovary. "The Legend of Saint Julian the Hospitalier" is an inspiring tale of perseverance and humility, one of Flaubert's most touching short stories with a religious theme. Saint Julian is predicted at birth to do great things, but a growing hatred takes root in him, leading him to seek a way to escape a destiny which seems more and more likely to be terrible. Language: English. Narrator: Katie Haigh. Audio sample: https://samples.audible.de/bk/cids/001562/bk_cids_001562_sample.mp3. Digital audiobook in aax.- Shop: Audible
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The Concept of Anxiety: A Simple Psychologically Oriented Deliberation in View of the Dogmatic Problem of Hereditary Sin , Hörbuch, Digital, ungekürzt, 366min
This first new translation of Kierkegaard's masterwork in a generation brings an essential work of modern philosophy to vivid life. Although Soren Kierkegaard's death in the fall of 1855 foreshadowed a lasting split between conservative Christians and young contemporaries who saw him as a revolutionary thinker, it was not until the turn of the 20th century - and beyond the borders of his native Denmark - that his lasting significance came to be felt. By transcending distinctions of genre, Kierkegaard brought traditionally separated disciplines to bear on deep human concerns and was able, through his profound self-insight, to uncover the strategies with which we try to deal with them. As a result, he is hailed today as no less than the father of modern psychology and existentialism. While the majority of Kierkegaard's work leading up to The Concept of Anxiety dealt with the intersection of faith and knowledge, here the renowned Danish philosopher turns to the perennial question of sin and guilt. First published in 1844, this concise treatise identified - long before Freud - anxiety as a deep-seated human state, one that embodies the endless struggle with our own spiritual identities. Ably synthesizing human insights with Christian dogma, Kierkegaard's "psychological deliberation" suggests that our only hope in overcoming anxiety is not through "powder and pills" but by embracing it with open arms. Indeed, for Kierkegaard, it is only through our experiences with anxiety that we are able to become truly aware of ourselves and the freedoms and limitations of our own existence. While Kierkegaard's Danish prose is surprisingly rich, previous translations - the most recent in 1980 - have tended either to deaden its impact by being excessively literal or to furnish it with a florid tone foreign to its original directness. In this new edition, Alastair Hannay re-creates its natural rhythm in a way that will finally allow this overlooked ungekürzt. Language: English. Narrator: David Rapkin. Audio sample: https://samples.audible.de/bk/adbl/019852/bk_adbl_019852_sample.mp3. Digital audiobook in aax.- Shop: Audible
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Observations on the Florid Song; Or Sentiments on the Ancient and Modern Singers
Observations on the Florid Song; Or Sentiments on the Ancient and Modern Singers: ab 2.49 €- Shop: ebook.de
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Locatelli-Complete Edition
Pietro Antonio Locatelli was one of the most important composers of the Baroque period, being a particularly celebrated composer of violin repertoire. His collection L'arte del violino contains 12 violin concertos with 24 caprices in the first and last movement of each, allowing for astonishing displays of virtuosity.He was born in Bergamo, Italy, in 1695, and at the age of 16 went to Rome to study the violin. Despite the popular myth that he was taught by Corelli, it's unlikely that he ever made contact with him, however, he certainly studied with members of the Corelli 'school', improving both his compositional skills and his performing technique.Although details of the composer's life are somewhat sketchy, it's clear Locatelli was linked to some of the most influential aristocrats of the time. At some point he was under the protection of Monsignor Camillo Cybo, an advisor to the Pope, at another point, he was granted the title of 'virtuoso da camera' by the Habsburgian governor of Mantua Philipp von Hesse-Darmstadt. Just these fleeting details are enough to tell us of Locatelli's growing reputation for virtuosic playing, in Munich in 1727 he was awarded 12 gold florins for a performance, and he pops up again in Germany in 1728, receiving money for services to the court in Kassel.Eventually, business-savvy Locatelli ended up in Amsterdam, where the music publishing industry had taken off. Thanks to the composer's meticulous attention to the publication of his works, and the fact that he was legally required to give copies to the Leiden University library, we are left with excellent manuscripts of his Opp. 1-9. His business acumen must have paid off, as his estate at the time of his death comprised large collections of works of art and old books, indicating an impressive prosperity.Locatelli was the forerunner of 19th-century virtuosity, and the works on this release reveal a composer eager to exploit the sound of the violin. As well as writing technically demanding solo passages, however, he was also an inventive writer for the supporting instruments, demonstrating a superb knack for fugal writing, and intensifying the texture of the concertino group with the addition of a viola, something unusual for the time. This release is an excellent opportunity to become better acquainted with Locatelli and the wealth of music he composed throughout his life. Demonstrating the versatility of Locatelli's writing, this set includes his Op.5 Trio Sonatas 'o due violini o due flauti' for the violin as well as the flute, allowing the listener to experience the composer's florid writing in two very different interpretations.Igor Ruhadze and his group Ensemble Violini Capricciosi have dedicated themselves to recording Locatelli's works for some years now. Careful research along with a genuine enthusiasm for the overlooked composer's works have led to a fine set of recordings, previously described by Gramophone as 'brilliantly and at times breathtakingly performed'. The release also includes new recordings of the composer's Concerti Grossi Opp. 1 & 7 and Introduzioni Teatrali Op.4, as well as the haunting Sinfonia funebre, a work to mark the death of an unknown woman in Rome. The vibrant playing of the Ensemble Violini Capricciosi is complemented by Musica ad Rhenum, led by highly acclaimed flautist Jed Wentz, who perform the Flute and Trio Sonatas. This release represents excellent value for money, at only EUR30.00 for 21CDs of listening pleasure, a compelling and masterful accomplishment just waiting to be enjoyed.The first and only Complete Locatelli Edition ever!Locatelli, like many of his contemporaries, moved abroad and settled in Amsterdam/The Netherlands, concertising as a violinist (and a "devil" he was as a performer!), and founding a flourishing publishing house.Locatelli composed in the tradition of the Italian Baroque, in the well known forms of the Concerto Grosso, Solo Concerto and Trio Sonata. His style is inventive, flamboyant, and extremely virtuoso. His violin sonatas and concertos still present a daunting challenge even to today's violinists.Russian violinist Igor Ruhadze was trained in his native Moscow as a virtuoso on the modern violin. However, his interest took him into early music, playing with such ensembles as Musica ad Rhenum, Jed Wentz and others. His solid technique enables him to tackle the often fearful difficulties of Locatelli's music with ease, charm and brilliance. His ensemble Violini Capricciosi play on original instruments, and follow the Historically Informed Performance Practice.Also included the two sets of Flute Sonatas, played by Jed Wentz, one of the most respected and celebrated flutist of Early Music.Linernotes written by the artists.A unique set, brand new recordings, performances which received universal critical acclaim for its dazzling virtuosity, style awareness and the sheer joy of making music!Recorded in The Netherlands between 1995 and 2014Contains detailed notes on the works- Shop: odax
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Sacred & Profane Love
"The song of songs, which is Solomon's." So begins the book of the Hebrew Bible that most beguiled composers of sacred Renaissance polyphony. It is perhaps not surprising that so much music would be set to texts from a book explicitly titled "Songs," but the musical title is not the only reason for it's appeal. For Renaissance composers, who were predominantly employed as church choirmasters and who themselves were often very devout Christians, there were few outlets for the expression of love towards anyone but their Christian god. The Song of Songs, unlike any other book in the Old or New Testament, is quite clearly a collection of secular love poetry. Of course, it has been interpreted variously as an expression of longing for the coming Christ, of devotion to the Virgin Mary, and of God's love for his people, but it seems difficult to argue in our age that the original author or authors of the text had purely sacred subjects in mind. The composers of the Renaissance and the even earlier composers of plainchant melodies must have been aware of the tension between the often erotic, even explicitly anatomical imagery in the poetry of the Song of Songs and the holy subjects to which they directed their settings of these texts. Indeed, the music that they composed for these texts is generally more emotional, more direct, and more florid than their settings of other sacred texts. The only examples of sacred polyphony that approach Song of Songs settings for sensuality and emotional urgency are settings of Marian texts-and these two genres are often blended, as the Virgin takes the place of the mortal beloved as the subject of praise. Our program begins with one of the finest examples of the genre, Jacobus Clemens non Papa's setting of Ego flos campi (I am the rose of Sharon). Clemens was of the generation of Flemish composers immediately following Josquin, and he demonstrated mastery of all the various forms of Renaissance choral writing-from his vernacular settings of the Psalms (Die Souterliedekens) and homophonic chansons to his challenging and still controversial "secret chromatic art" motets. Ego flos campi belongs to Clemens's more diatonic style of composition, indeed, there is not a single chromatic note indicated in the manuscript. This imparts a serene beauty to the composition, but Clemens also manages to give shape and contrast to the piece without major harmonic shifts, particularly through the introduction of clearly offset homophonic passages. The most prominent of these declaims the text "Sicut lilium inter spinas" (as a lily among thorns), which was the motto of the Marian Brotherhood of s'Hertogenbosch in whose employ Clemens spent five years and to whom this motet is dedicated. Quam pulchra es (How fair art thou) is one of the most commonly set texts in the Song of Songs, and understandably so. The chapter from which it is drawn is devoted almost entirely to a litany of compliments to female beauty, some quite explicit. We perform two settings of verses from chapter 7, one plainchant (from a manuscript at the Newberry Library) and one by the English composer John Dunstable, both transcribed and edited by Calvin Bower. The anonymous composer of the chant setting captures the shape and feeling of the text beautifully, both within individual phrases and over the full sweep of the piece. Dunstable, the most famous of the pre-Eton-Choirbook English composers known for sweet, consonant harmonies, shows a similar skill in phrasing and feel for the poetry in his setting. If either composer saw any incongruity in closing his piece with the text "Ibi dabo tibi ubera mea. Alleluia." (There I will give you my breasts. Alleluia.), it is not apparent in the music. A similarly popular text for Renaissance composers (and presumably for similar reasons) is Tota pulchra es (Thou art all fair), of which we sing the setting by the Flemish composer Heinrich Isaac. Isaac was a contemporary of Josquin and is best known for his song Innsbruck, ich muß dich lassen, but his achievements in sacred music are formidable, including over 300 polyphonic settings of the Propers of the Mass. In Tota pulchra es, Isaac establishes a mysterious, shifting harmonic background, against which he sets bright, almost ecstatic individual lines, often spanning over an octave. The larger shape of the piece is a series of long, slow builds toward cadences that are inevitably interrupted before they fully resolve. The tension reaches it's maximum at "Surge, propera" (Arise, come away) and is finally released on the words "amica mea" (my love), with a final denouement on the text "Veni de Libano, veni, coronaberis" (Come with me from Lebanon, come, thou shalt be crowned). We make a (regrettably brief) detour into the Spanish Renaissance with settings by one rather obscure composer (Martín de Rivaflecha) and one of the Spanish greats (Francisco Guerrero). Rivaflecha was of the same generation of Isaac at a time when the Low Countries were under Spanish rule, and there was strong mutual influence between Flemish and Spanish composers. His setting of the heartbreaking text "Anima mea liquefacta est (ut dilectus locutus est)" (My soul failed [when my beloved spake]) is simple, short, and effective. Guerrero was second only to Tomás Luis de Victoria among Spanish composers of the High Renaissance and was known as El Cantor de Maria for his skill in composing motets in praise of the Virgin. It is fitting, then, that the Guerrero motet we present tonight is the only one on the program that makes the Marian connection explicitly. Where the Song of Songs texts has "Trahe me post te" (Draw me after you), Guerrero adds "Virgo Maria" as the specific addressee. Guerrero also makes the interesting decision to include the rather explicit body imagery of the "quam pulchra" text (including two different similes for the subject's breasts), but as with Dunstable and our earlier anonymous chant composer, this juxtaposition of spirit and flesh does not seem to cause Guerrero the level of anxiety we might expect. The use of the "Trahe" text as a Marian hymn was apparently popular enough that it appears in the Liber Usualis as a Vespers antiphon for the Feast of the Immaculate Conception. We sing this antiphon immediately before the Guerrero motet. Any discussion of Renaissance settings of Song of Songs texts would be incomplete without a mention of Giovanni Pierluigi da Palestrina. Probably the most famous of all composers of Renaissance polyphony, Palestrina devoted an entire book of 29 motets to his Song of Songs settings and dedicated the 1584 publication to Pope Gregory XIII. In his dedication, Palestrina expressed shame at having previously published madrigals and secular songs, however, both the subject matter and style of the Song of Songs motets have a great deal in common with Palestrina's more worldly compositions. We perform three of Palestrina's motets, the first of which, Vox dilecti (The voice of my beloved), is one of the more lively compositions on the program. With madrigalian word-painting, Palestrina sets the voices running and leaping with the "young hart...skipping upon the hills" that is the poet's beloved. The second selection, Dilectus meus mihi (My beloved is mine), begins with a simple, sweet declaration of mutual devotion but moves through imagery similar to the previous motet ("be thou like a roe or a young hart upon the mountains of Bether") and ends with the text of loss and anxiety we encountered in the work of Rivaflecha ("I sought him, but I found him not"). The last Palestrina motet demonstrates one interesting consequence of setting nearly the entire book of the Song of Songs, namely that some of the poetry does not quite measure up (at least in modern translation). Guttur tuum sicut vinum optimum ("The roof of your mouth [is] like the best wine"), while not the strangest verse in the Song of Songs ("How beautiful are thy feet with shoes" is a strong contender), is a- Shop: odax
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Music for Trumpet & Organ
Bill Owens is currently the associate principal trumpet player with the West Point Band. Upon receiving his Bachelor's degree from the Juilliard School in 2005, Bill moved to Los Angeles to pursue a career as a free-lance chamber and orchestral musician. He quickly established himself by performing with the Los Angeles Philharmonic, the San Diego Symphony, the Santa Barbara Symphony as well as numerous other orchestras in Southern California. For six years, Bill was a member of the national touring ensemble, Presidio Brass. While maintaining a busy performing schedule with Presidio, Bill and organist Alison Leudecke performed recitals in venues throughout SoCal. MUSIC FOR TRUMPET AND ORGAN is the first recording made by Bill and Alison. It is comprised mostly of early music arranged by Bill specifically for this ensemble. The CD features florid performances and virtuosic ornamentation that is seldom heard on modern brass instruments. This type of performance practice would have been expected during the renaissance and baroque periods.- Shop: odax
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With Philharmonic Orchestra of Montevideo: Orquest
Binelli and Ferman continue to develop and further the appreciation of tango, milonga, candombe, and other Latin American musical forms in a unique bandoneon / piano partnership. Since making their American Duo debut in January 2000 in New York City, they tour extensively and have performed throughout the Far East, including the major cities of Tokyo, Beijing and Shanghai, as well as in Australia, Switzerland, France, Portugal and they have appeared in New York City, Chicago, Colorado, Dallas, Fort Worth and Miami in the U.S. Their performances reflect the elegance and subtlety of the Tango, the sauciness of the Milonga, the romance of the Waltz, and the temperament and power of contemporary Tango. The Duo has recorded the CD 'Imagenes,' which is available on Romeo Records and EPSA Music, and 'ORQUESTANGO', with the Montevideo Philarmonic. 'Masterly wedding of authentic native impulses in the context of a refined classical construction' (LA NACION - Buenos Aires) DANIEL BINELLI Daniel Binelli, internationally renowned composer and master of the bandoneon, performs extensively throughout the world. Since his successful 1998 tour of Japan with the National Symphony Orchestra of Argentina, he has been a sought after soloist in the Far East as well as in Europe and the Americas. In October 2001, he appeared with the Montreal Symphony Orchestra at Carnegie Hall under the baton of Charles Dutoit. At the invitation of Maestro Dutoit, he appeared with the Australian Symphony Orchestra in September, 2003 in Sidney and with the Philadelphia Orchestra in February 2004. In 1989, Mr. Binelli toured Brazil, Chile, Germany, Spain, and France with Astor Piazzolla and his New Tango Sextet. Binelli's knowledge of Tango has earned him the most respected proponent of Piazzolla's musical legacy. He has recorded over 30 CDs with whom he worked for 14 years. Daniel Binelli is the Musical Director of Tango Metropolis as well as the Binelli Quintet. 'Mr. Binelli brought florid virtuosity and high-pressure emotionalism to 'Aconcagua' New York Times POLLY FERMAN One of world's leading interpreters of the music of the Americas, POLLY FERMAN continues to captivate audiences with her outstanding performances of the music of Piazzolla, Villa Lobos, Ginastera, Gottschalk, Nazareth and Gershwin. Her mastery of this literature prompted The Japan Times to recognize her as a 'Musical Ambassador of the Americas'. Trained as a classical pianist, Ms. Ferman has appeared with the Indianapolis Symphony, Tokyo City Philharmonic Jarkow Philharmonic (Ukraine), as well as the symphony orchestras of Manila, Sao Paulo and the National Symphony of Argentina. Her performances in recital have taken her from her native Montevideo to Rio de Janeiro, Buenos Aires and New York, as well as to Paris, London, Berlin, Rome, St. Petersburg, Jerusalem, Tokyo, Manila and Beijing. She has recorded extensively and her highly praised 'Habaneras, Milongas, Tangos' is available on Romeo Records. 'Ferman ´s pianism is superb and of a kind no longer common'. American Record Guide Manager for the USA Beverly Wright & Associates, Inc email: bevwright@aol.com phone: (1212) 877-2036 - fax (1212) 877 2292.- Shop: odax
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The Liberation of the Gothic-Florid Polyphony
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