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    The Alien Jailer's Mate: Prisoners of Karcerikus, Book 1 , Hörbuch, Digital, ungekürzt, 452min
    How can I protect my brother when I'm falling for our alien captor? One minute I was on a plane with my brother, and the next I – along with every passenger – was waking up on a prison planet overseen by vicious aliens and heartless robotic guards. I need to find my brother and get us out of here, but when I encounter Tetro, I find myself wanting something else. I can’t trust the man in charge of overseeing all the terrible things happening to me, but there’s more to the alien than his brusque exterior. And soon I realize that he wants out of this place just as much as I do. I shouldn’t be falling for him, but how can I resist when his kisses break down my defenses? We need to get out, but escape may not be so simple when we fall under the sadistic eye of the prison’s owner. Is there a way to save my brother and keep Tetro close? Or will I be forced to choose between family and the alien I’m coming to love? PLEASE NOTE: When you purchase this title, the accompanying PDF will be available in your Audible Library along with the audio. UNKNOWN N N ©2020 Special Fiction Books;(P)2020 Special Fiction Books http://www.audible.de/pd/B089DL9C5R?source_code=PNHFA145032019009G&ipRedirectOverride=true http://www.audible.de/pd/B089DL9C5R?source_code=PNHFA145032019009G&ipRedirectOverride=true SEAL Attack: Locate & Eliminate (Unabridged) 7.95 AVAILABLE SEAL Attack: Locate & Eliminate (Unabridged) SEAL Attack (Unabridged) Todd McLeod, Eric Meyer Another group of Hezbollah is in hot pursuit, determined to exact revenge and eliminate Cooper’s SEALs as payback for the destruction of their nuclear ambitions.... Ray Bader Swordworks Books 2020-05-19 18:33:47 76 B088VHXQCG English - Mysteries & Thrillers English 1.00 4.95 N http://img.audible.de/audiblewords/content/bk/acx0/197093de/lg_image.jpg http://samples.audible.de/bk/acx0/197093/bk_acx0_197093_sample.mp3 Six rookie army officers lose their way during a training exercise inside Iraq and cross the border into Iran. They are pursued by a fanatic and vengeful squad of Iran’s notorious paramilitaries – Hezbollah. Rod Cooper’s small fireteam, returning from a successful mission to cripple Iran’s nuclear capacity, get the mission to locate them and get them home.Another group of Hezbollah is in hot pursuit, determined to exact revenge and eliminate Cooper’s SEALs as payback for the destruction of their nuclear ambitions. Cooper’s SEALs find the rookies but encounter a new problem. The newly minted officers claim they are non-combatants and refuse to fight, happier to surrender to Hezbollah who they mistakenly believe will treat them honorably. The climax comes at a secretive Iranian base for helicopter gunships. And a final showdown ensues. Massively outgunned and outnumbered, the rookies have two choices, to fight, or to die. If they make the wrong choice, the SEALs will also die trying to protect them.SEAL Attack: Locate and Eliminate is the third short novel in the SEAL Attack series. The book is a collaboration between Todd McLeod and Eric Meyer, the best-selling author of more than 50 war novels. UNKNOWN N N ©2019 Todd McLeod, Eric Meyer;(P)2020 Swordworks http://www.audible.de/pd/B088VHXQCG?source_code=PNHFA145032019009G&ipRedirectOverride=true http://www.audible.de/pd/B088VHXQCG?source_code=PNHFA145032019009G&ipRedirectOverride=true Empath: The Ultimate Guide for Highly Sensitive People to Overcome Anxiety, Fear, Abuse in Relationships, and Dodging Energy Vampires (Unabridged) 15.95 AVAILABLE Empath: The Ultimate Guide for Highly Sensitive People to Overcome Anxiety, Fear, Abuse in Relationships, and Dodging Energy Vampires (Unabridged) Empath (Unabridged) James P.H. Davis Do you often feel overwhelmed by other people's emotions as if they were your own? Do you feel tired after being in crowded places or talking to rude people? Do you suspect that some people try to feed off your intense emotional energy? These signs indicate that you're an empath.... Millie Green Nick Twentymiles 2020-06-02 22:58:43 247 B089LPJHP1 English - Religion & Spirituality English 1.00 9.95 N http://img.audible.de/audiblewords/content/bk/acx0/199517de/lg_image.jpg http://samples.audible.de/bk/acx0/199517/bk_acx0_199517_sample.mp3 Are you an empath? Transform your vulnerabilities into strengths with this practical survival guide! Do you often feel overwhelmed by other people's emotions as if they were your own?Do you feel tired after being in crowded places or talking to rude people?Do you suspect that some people try to feed off your intense emotional energy?These signs indicate that you're an empath.Right now, you might feel that being an empath is a major weakness. After all, you often feel anxious and vulnerable around people, you need lots of time to recharge your batteries, and you often struggle with managing your intense emotions. But you're only seeing one side of things!Being an empath means you have a natural talent for spiritual healing and clairvoyance.You naturally excel at jobs that involve helping others, such as therapy, coaching, or social work.You have amazing creative talents, even if you haven't discovered them yet.Right now, you're probably wondering how you can minimize your empathic vulnerabilities and develop your empathic powers. Congratulations, you've just found the right book for you!This book will help you:Gain a deeper understanding of your empathic giftsProtect yourself against negativity and energy vampiresSet clear personal boundaries and keep toxic people at bayUse meditation to calm and cleanse your mindFeel confident about yourself and your powersThe book offers a varied mix of traditional and modern techniques, from crystals to mindfulness exercises. Simply try the tips and strategies that resonate with you on a deeper level and enjoy your new strength!Are you ready to discover your empathic powers? UNKNOWN N N ©2020 James P.H. Davis;(P)2020 James P.H. Davis http://www.audible.de/pd/B089LPJHP1?source_code=PNHFA145032019009G&ipRedirectOverride=true http://www.audible.de/pd/B089LPJHP1?source_code=PNHFA145032019009G&ipRedirectOverride=true The Friendship of Christ (Unabridged) 15.95 AVAILABLE The Friendship of Christ (Unabridged) The Friendship of Christ (Unabridged) Robert Hugh Benson The emotion of friendship is among the most mighty and the most mysterious of human instincts. Materialistic philosophers delight in tracing even the most exalted emotions - art, religion, romance - to purely carnal sources.... Ryan Parish Patristic Publishing 2020-05-14 16:45:26 259 B088MJN1D5 English - Religion & Spirituality English 1.00 9.95 N http://img.audible.de/audiblewords/content/bk/acx0/196539de/lg_image.jpg http://samples.audible.de/bk/acx0/196539/bk_acx0_196539_sample.mp3 The emotion of friendship is among the most mighty and the most mysterious of human instincts. Materialistic philosophers delight in tracing even the most exalted emotions - art, religion, romance - to purely carnal sources, to the instincts of the propagation or sustentation of physical life. And yet, in this single experience at any rate - when we class together, as we can, all those varied relationships between men and men, women and women, as well as between men and women, under the common title of friendship - materialistic philosophy wholly breaks down. It is not a manifestation of sex, for David can cry to Jonathan, Thy love to me was wonderful, passing the love of women"; it is not a sympathy arising from common interests, for the sage and the fool can form a friendship at least as strong as any between two sages or two fools; it is not a relationship based on the exchange of ideas, for the deepest friendships thrive better in silence than in speech. From the introduction  The author, Robert Hugh Benson (1871 - 1914), was an English Anglican priest who became a Roman Catholic priest in 1904. He was a prolific writer, who also progressed through the hierarchy to become a Chamberlain to Pope Pius X in 1911. ungekürzt. Language: English. Narrator: Amy Deuchler. Audio sample: https://samples.audible.de/bk/acx0/198852/bk_acx0_198852_sample.mp3. Digital audiobook in aax.
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    Late Beethoven
    Late Beethoven It is well recognized that during his last years, especially from 1817 on, Beethoven's music underwent a transformation that redefined his legacy. Moreover, in a series of powerful masterstrokes the composer forever enlarged the sphere of human experience. There is disagreement as to when precisely the late style first appeared. There are differences over the extent to which it emerged from internal or external sources, and critics have struggled to describe it's characteristics in a coherent and meaningful way, but few have disagreed about the existence of the phase itself, let alone it's seismic character or it's chief examples: the late sonatas and string quartets, the 'Diabelli' Variations and the bagatelles, the Ninth Symphony and Missa solemmis Sonata Op.101, in A major. The Sonata in A major, op.101, published in Vienna by Steiner,in 1817, is the first of the 'final five' piano sonatas with which Beethoven brought his work on this genre to a close. The crux of this Sonata is contained not in the opening Allegretto ma non troppo, despite it's quiet, lyrical beginning in medias res on the dominant. The suspended quality of the music is enhanced by Beethoven's seamless lyricism, his placement of the exposition in the dominant key, and his avoidance throughout of strong tonic cadences. Following this short movement of yearning quality and the brusque, angular, contrapuntal march in F major which forms the second movement, a more fundamental level of feeling or state of being is uncovered in the slow introduction to the finale, marked Langsam und sehnsuchtsvoll. Here the music is drawn progressively lower in pitch, collapsing onto a soft sustained chord that will serve as a turning-point and a new beginning. This soft chord, which represents the end of the descending progression and the termination of the Adagio, also embodies the a priori condition for the first movement, since it represents the exact sonority in the precise register out of which the opening of that movement has sprung. In view of this, the opening of the Sonata in medias res assumes a new and deeper significance. The importance of this original sound is confirmed by it's transformation, after a short cadenza-like passage, into the actual beginning of the opening movement. This reminiscence lasts a few bars before it dissolves into the emphatic beginning of the finale. The finale is in sonata form, with it's development assigned to a fugato. The fugal textures in the finale unfold with uncompromising determination and virtuosity. Op. 101 is among the most difficult of the sonatas. Beethoven himself once described it as 'hard to play' The A major Sonata marks a major transition in Beethoven's style, pointing unmistakably to the unique synthesis achieved in works of his last decade. Sonata Op. 111,in C minor Beethoven's last Sonata. Op. 111, in C minor, completed in 1822, defines with absolute assurance the two polarities within which his creative consciousness evolved. The two movements completely symbolize the two primary functions of the mind: analysis and synthesis of conflicting elements on the one hand, and transcendence of all oppositions on the other. It is literally and figuratively a lifetime away from the Op.2 group. The first movement of Op. 111 represents the last example of Beethoven's celebrated ' C minor mood', evidenced in a long line of works from the string Trio op.9 and 'Pathetique' Sonata to the Coriolan Overture and Fifth Symphony. The sonata begins with a Maestoso exposing left-hand plunges of the diminished seventh in a dramatic and tightly spaced rhythmic relationship. An effect of parenthetical enclosure is created not only through the sudden thematic and tonal contrast and slowing of tempo but also through the sudden return of the original tempo and agitated musical character. Consequently, the intervening lyrical utterance is isolated, like 'a soft glimpse of sunlight illuminating the dark, stormy heavens', to use imagery of Mann's Kretzschmar in DoktorFaustus. The lyrical passage reaches C major in the recapitulation and it seems to foreshadow the atmosphere of the Arietta finale. The transition to the ensuing Arietta is built into the coda. The rhythm and register of the last bars allude unmistakably to the diminished-seventh chords of the exposition. With the Arietta we enter a new world. In this case it seems offensive to reduce to conceptual analysis a musical experience which so transcends conceptual activity. The movement establishes a sense of immediacy in which the perception of sound creates a state of contemplation. As Claude Palisca said so simply, 'the Adagio molto - a long set of variations in an arietta is so eloquent and so complete that nothing further seems to be required'. 33 Variations on a Waltz by Anton Diabelli Op.120 The 33 Variations on a Waltz by Diabelli. Op. 120 represent Beethoven's most extraordinary single achievement in the art of variation writing. In their originality and power of invention they stand with other late masterpieces such as the Ninth Symphony, the Missa Solemnis, and the last quartets. When Anton Diabelli invited selected composers to write a variation on one of his waltzes, to be published as a collection, Beethoven at first declined to participate but later offered to provide a set of variations on the Diabelli theme. The scope of the work grew and the 33 variations (started in 1819, completed in1823 and dedicated by Beethoven to Antonie Brentano ) were published in June 1823 under the title '33 Veränderungen über einer Walzer von A. Diabelli'. Beethoven used the term Veränderungen, following Bach's title for his 'Aria mit 30 Veränderungen ' ( Goldberg Variations). Together with the Bagatelles Op. 120 Published in 1825, the Variations Op. 120 represents Beethoven's final contribution to the piano literature. Parody lies at the heart of this composition. Beethoven expanded his draft of the work in 1822-3. He left his older variation order intact for the most part, but opened with two new variations (the present Vars. 1 and 2), added many more variations towards the end, and inserted one at the middle of the set. These added variations contribute substantially to the form of the work, imposing not a symmetrical but an asymmetrical plan, an overall progression culminating in the last five variations. The work as we know it is thus to a great extent the product of two conceptions: an original conception and a superimposed conception. The inserted variations added by Beethoven in 1823 contribute a subtle dimension to the set whose implications transcend the purely musical sphere. Most of them are, in one sense or another, parodistic variations, and while this is clear enough on close inspection, it is sufficiently subtle to be overlooked. This issue of parody in Op. 120 is complex. It is interesting that in Op. 120 the overall formal progression of the variations relies heavily on parody of the melody of Diabelli's theme, an idea that, though prominent in the finished piece, is not in evidence in the 1819 draft. Although it is possible to speak of the unity of the whole work, such as we find in other works of the composer, the variations are based on a trivial theme not of the composer's making,thus the complete work spans a tension from ironic caricature to sublime transformation of the waltz of DiabelIi. This extra-musical dimension of parody is essential to a full understanding of the piece, although by it's very nature it is not immediately obvious in the work itself. About the artist Concert pianist, musicologist and educator, Luisa Guembes-Buchanan was born in Lima, Peru, where she received her early musical education at the Conservatorio Nacional de Música. She holds degrees in Performance and Musicology from the Manhattan School of Music, C.W.Post College, New York University and Boston University. Ms. Guembes-Buchanan has given performances throughout the United States, Latin America a
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    Piano Recital I
    PARTITA No. 2 in C minor, BWV 826 JOHANN SEBASTIAN BACH (1685-1770) Bach's six Partitas date from the ripe period following his move to Leipzig (1723). His first published instrumental works, they appeared individually in the years 1726-31 (the present C minor Partita in 1727) and were assembled as his 'Opus One' in 1731, collectively titled Clavierübung (keyboard Practice or Exercise). According to Bach's first biographer, Johann Nicolaus Forkel, the partitas made 'a great noise in the musical world. Such excellent compositions for the clavier had never been heard before. Anyone who had learnt to perform well some pieces out of them could make his fortune in the world thereby,... they are so brilliant, well sounding, expressive, and always new.' Forkel was correct in his appraisal, and these creations do indeed unfailingly renew themselves. They are effectively playable on piano, harpsichord and clavichord, and lend themselves to a multitude of interpretations. The Partitas (known also as German Suites, as Bach announced, consisted of 'Preludes, Allemandes, Courantes, Sarabandes, Gigues, Minuets, and other Galanteries.' The Partita in C minor opens with a Sinfonia rather than a Preludium which is in effect a three-stage Italian Ouverture beginning with a clarion call to order. The proscribed Allemande, Courante and Sarabande are filled out with a Rondeau (replacing the Menuet} and a vigorous, driving Capriccio in lieu of the concluding Giga. VARIATIONS in F minor, Hob. XVII : 6 SONATA No. 53 in E minor Hob. XVI : 34 JOSEPH HAYDN (1732-1809) The F minor Variations (sometimes commonly known as 'Andante con Variazioni') were composed in 1793, and exemplify the mastery and tremendous emotional breadth of some other late Haydn symphonies. As a matter of fact, one can draw a striking analogy between the Tema of this masterpiece and one of the so-called 'Drumroll' Symphony's second movement: Both of these are double themes consisting of a first part minore, it's sequel in answering maggiore. Of course each variant becomes increasingly more embellished until the coda where a climax of astonishing intensity and subdued drama is joltingly introduced. When young Beethoven was sent to Vienna with a stipend from Count von Waldstein so that the burgeoning composer could study with Haydn and 'regain the soul of Mozart' (who had just died), I daresay that Beethoven did indeed inherit much from Mozart, but Haydn probably had the biggest influence on his young charge. These sublime Theme and Variations offer evidence for this writer's assertion. The Sonata in E minor was first published in July 1773 by Beardmore & Birchall of London but almost certainly, Haydn had composed it considerably earlier. In any event, this E minor Sonata is one of the finest and most popular of the master's 'middle period.' It's first movement, Presto's engaging, disjunctive style is for me reminiscent of C.P.E. Bach innovative mood. One noteworthy feature is the way the music keeps breaking up into small paragraphs and then resuming it's forward course. Such drama and imagination! In contrast, the Adagio slow movement sings with a long, ruminative line. As the movement reaches it's apex, the pulse begins to quicken and, almost without resolution we find ourselves face to face with a sprightly Finale, Vivace molto innocentemente. This linking of these two movements is very much a harbinger of the familiar device used by Beethoven in so many of his mature compositions (e.g. The Fourth and Fifth Piano Concertos, the Violin and Triple Concertos, the Waldstein, Appassionata and Lebewohl Sonatas and the Serioso String quartet). DREI KLAVIERSTÜCKE, Op. 117 JOHANNES B HMS (1833-1897) During the Summer of 1890, Brahms completed his String Quintet in G major, Op. 111 and, in September, sent the manuscript to Fritz Simrock, his publisher. Simrock had hoped Brahms would oblige with a Fifth Symphony and indeed, the composer had begun work on such a score. But, alas, along with the Quintet's manuscript, came a note: ' The time has come for you to say goodbye to any further compositions of mine.' A new symphony was out of the question and Brahms facetiously added further that he had thrown his leftover manuscript paper in the river at the end of his vacation at Bad Ischl. Incentive was restored by a visit to Meiningen in March 1891. The rejuvenating catalyst was an evidently superb musician named Richard Mühfeld and posterity owes to him a substantial debt for causing Brahms' change of heart. Having come forth with two works inspired by Mühlfeld, the Trio for Clarinet, Cello and Piano, Op. 114 and the Quintet for Clarinet and Strings Op. 115, and with his creative juices restored, the 'retired' master, as an extra bounty, penned a superb collection of short piano pieces, Op. 116-119, his two sonatas Op. 120, the Ernste Gesang, Op. 121 and the Chorale Preludes for Organ, Op. 122. The three Intermezzi Op. 117 were published in 1892, the same year as Op. 116. No. 1 in E Flat, an Andante in 6/8 metre with a second section, piu adagio--un poco andante, is a German version of a Scottish cradle song 'Lady Anne Rothwell's Lament' and Brahms follows it so closely that in one section the words can actually be fitted to his melody. The second Intermezzo in B flat minor is likewise, another song without words. It's mood of bittersweet nostalgia is very much akin to the poco Allegretto third movement of the Third Symphony, Op. 90 (Brahms tempo indication for Op.117/2 is Andante non troppo--piu adagio). The triptych is completed by the Intermezzo in C sharp minor (Andante con motto--poco piu lento moto ed espressivo, again inspired by an old ballad. SONATINA (1957) Edino Krieger (1928) Edino Krieger was born in Brusque, Santa Catarina on March 17, 1928. He studied music with his father, a conductor, composer, and founder of the local Conservatory, and later studied the violin with Edith Reis (1943) and composition with Hans-Joachim Koellreutter (1944-48) at the Rio de Janeiro Conservatory, and subsequently had lessons with Aaron Copland at the Berkshire Music Center in Tanglewood and with Peter Mennin (1948-49) at the Juilliard School. His early works were in late Romantic and Impressionist style, but after a brief dodecaphonic period (1947-53), he turned toward neo-Classicism with nationalistic allusions, and fused the latter two styles from 1966. The composer has given his own text for the Sonatina here recorded: 'Composed in 1957, the piano Sonatina belongs to Krieger's neoclassical period. In 1952 the composer abandoned avant-garde experiments in order to heighten his command of traditional forms, with classical and pre-classical styles within a free tonal-modal idiom and incorporating Brazilian thematic elements. The neoclassical phase includes teaching pieces, designed for developing young instrumentalists. Among these works are the Suite for Strings, the Prelude and Fugue and the Sonatina for piano. The Sonatina is in two movements. The first, marked Moderato, begins with a binary Alberti bass, below a ternary melodic line with a cantabile, lyric character. The contrasting marcato second theme appears in the left hand and both themes are worked in a long and dynamic development. The brief recapitulation brings the return of the initial lyric material. The second, Allegro, has a moto perpetuo character and is built upon a wild, undulating melodic figure in the low register. Above this appears an affirmative theme of episodic character, though the initial undulating material predominates throughout.' Music Notes by Harris Goldsmith.
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    House M.D.: The Complete Seasons 1-8
    Hugh Laurie wields a cane, a brusque bedside manner and a brilliant diagnostic mind as Dr. Gregory House, an acerbic expert in infectious diseases who leads a crack team of physicians as they tackle the most baffling of cases at a New Jersey teaching hospital. Hit 2004-2012 Fox medical drama co-stars Lisa Edelstein, Omar Epps, Robert Sean Leonard, Jesse Spencer, Jennifer Morrison, Peter Jacobson.176 episodes on 39 discs. 128 3/4 hrs. Widescreen (Enhanced), Soundtracks: English, French, German, Japanese, Portuguese, Spanish, Subtitles: French, Dutch, German, Japanese, Portuguese, Spanish.
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