68 Results for : project's
-
The Shape of God's Reign
The Shape of God's Reign - Study Two in the Ekklesia Project's Getting Your Feet Wet Series: ab 13.99 €- Shop: ebook.de
- Price: 13.99 EUR excl. shipping
-
The Shape of Our Lives
The Shape of Our Lives - Study One in the Ekklesia Project's Getting Your Feet Wet Series: ab 13.99 €- Shop: ebook.de
- Price: 13.99 EUR excl. shipping
-
F.P. 1 Doesn't Answer
Respected airman Elissen (Hans Albers) finagled agreement from aviation heiress Claire Lennartz (Sybille Schmitz) to execute the visionary design of his engineer buddy Droste (Paul Hartmann) for an ocean-stationed floating airport hub. The romantic triangle that develops, however, must be set aside when the revolutionary project's targeted by saboteurs. First of three international and concurrently-filmed takes on Curt Siodmak's story co-stars Peter Lorre. 114 min. Standard, Soundtrack: German, Subtitles: English, English-language version "F.P. 1 Doesn't Answer" (1933), audio commentary. In German with English subtitles. BW/Rtg: NR- Shop: odax
- Price: 36.18 EUR excl. shipping
-
Grand Festive Vespers in Venice C. 1640
The Green Mountain Project (honoring the literal translation of Monteverdi's name) is a special project of TENET. TENET is one of New York's preeminent vocal ensembles. Under artistic director Jolle Greenleaf, TENET is winning acclaim for it's innovative programming, virtuosic singing and command of repertoire that spans the Middle Ages to the present. TENET features distinguished soloists who shine in one-voice-to-a-part singing and as joined voices in small ensembles. Press for 'A Grand Festive Vespers in Venice, c. 1640.' 'The singers and players produced a glorious, smoothly blended, beautifully textured sound. [...] Highlights were plentiful.' New York Times. 'The performance itself was truly outstanding, as the performers displayed technical skill and musical artistry of the highest caliber. (...) The consistently high level of artistry makes it difficult to point out the high points.' Boston Musical Intelligencer. 'A stupendous performance. (...) Blue Heron sings with the tongues of men and women rather than angels, and that's also true of GMP. (...) The audible interplay of voices with the variously deployed instrumental forces - two cornetti, five sackbuts, three violins, two theorbos, and organ - was a continual delight.' Boston Globe. 'Green Mountain Project's performance was music making at it's best, historically informed, musically revealing, and sensitively and energetically performed-one could not ask for more. (...) What made this performance a one-of-a-kind occasion was the superb musicianship of all participants. The least of the singers was excellent, and there were moments of great artistry (...).' The Arts Fuse.- Shop: odax
- Price: 32.50 EUR excl. shipping
-
Journey's Threads
7 pieces of music featuring the beautiful counter tenor voice of Daniel Tucker and the elegant violin playing of Michael Peck, combined with the delicate piano, classical guitar, vocals and electronics of Ian Harris. An album that moves from breathtaking simplicity to dazzling virtuosity, creating varied landscapes of polished sound. REVIEWS "There are some classical music aficionados who are averse to the atonal tendencies of many modern compositions. Pianist Ian Harris however, has masterfully counteracted this trait with his clever inclusions of aurally pleasing tones and placid sparkle. On the Britain's second album The Journey's Threads he once again works with counter tenor Daniel Tucker and violinist Michael Peck. The opener "Over Ice Land" is hauntingly beautiful with it's stark mysterious aura. Tucker's vocals are lovely and ethereal with Peck and rustic flute calls echoing in the distance. Harris lends his vocals in the latter half of the song with his warmth nicely complementing the celestial counter tenor. The mostly instrumental "Between White Clouds" takes the romantic notion of painting the aural picture the title implies, yet Harris' rendering is more sophisticated. The delicate bells and electronic noises he employs around his piano work are like the wispy silver linings of the clouds. Peck's violin statements are thither and gone like a gentle gust. In the final portion of the song, Harris' tender vocals sing the title. "Walking Towards the Rainbow" is a quiet piano solo that begins with a melodic idea twice stated, as if to build up the gumption. Then Harris gently and ever so subtly plays an eighth note journey of rises and falls like footsteps on a garden path, yet as glistening as the water from a stream flowing over smooth pebbles. The listener can become so absorbed that the ending seems to sneak up. Water is actually heard along with mechanical gears in the onset of "Of the Loss of Time," whose lyrics are taken from the Elizabethan poet John Hoskins' work of the same title. Harris mixes synthesized strings with Peck while Tucker chants in this more modern sounding piece with no clear tempo and long pauses. Each musical idea is independent yet with the echo and the counter tenor's legato vowelizations there is a shroud of mist that encompasses and binds the song together. More direct is the violin and piano conversation in "Journey to the Horizon." Harris and Peck at times sound like they are playing in different key signatures, yet the two instrumentalists deliberately and expertly continue their statements exhibiting excellent dynamics and musicality. "L'espoir d'été" loosely translates to "the hope of summer" and Harris plays a cheery lead on piano adorned with violin, bells, triangle and synthesized bass guitar sachets. His lovely grace notes on the keys and overlaid vocals at the end harbour tranquility. The most mesmerizing piece on The Journey's Threads is the violin featured "Song of the Trees." Peck is multi-tracked playing different voices crying their own lament, yet they all fit into each other by a greater design, like the giant canopy of an antediluvian forest. Harris plays classical guitar adding structure and a glint of sunshine as it pours down into the depths and touches the golden branches beneath the thick leaves. Faint electronic pings undulate quietly as the song hypnotically melds all the musical voices in and out of each other until finally fading away. Harris has been an avid composer for over fifteen years. Therefore it is not surprising how elite and polished The Journey's Threads is. The composer's unique instrument pairings and shrewd melodic weavings can easily bring modern music to a wider and more appreciative audience." Reviewer: Kelly O'Neil, Review You Rating: 4 stars REVIEW The music found on The Journey's Threads involves the three-fold combination of counter tenor Daniel Tucker's vocals, Michael Peck's violin and Ian Harris' piano and various electronic instrumentation. It's a 7-song release that veers among jazz, classical pop and what used to be termed new age music. This album, however, is under Harris' name. Harris is both a composer and a video artist based in the UK. He's a trained visual artist, with a BA in Fine Art, as well as a scholarly musician with an MA in music. One of his more fascinating past works is the music he created for a 2001 film version of a Thomas Mann novel, which was broadcast on BBC Radio 3. He's also worked on orchestrations for multi-instrument performances, some of which were presented at the famous spiritual event, Greenbelt Festival. The album's most classical sounding track is one titled "Walking Towards The Rainbow." It's a mid tempo piano piece that clocks in at 3:29. For whatever reason, it conjures up images of an Irishman searching for that pot of gold at the end of the rainbow. Maybe it's the word 'rainbow' in the title that brings such stereotypical pictures to the mind. Nevertheless, it's a pretty tune and quite a meditative one. "Of The Loss Of Time" makes excellent use of Tucker's vocals, as his voice simply soars over the instrumental section of the piece. This track is music put to a poem by John Hoskins, who was not only a writer of poems, but also a scholar of Greek, a lawyer, judge and politician. It's interesting to hear the way Tucker's voice plays off Peck's violin on this one. It's a credit to Tucker's singing ability that many times the listener may have trouble aurally discerning the difference between the vocal parts and the string parts. Tucker is such a spot-on singer when it comes to hitting the right notes, there are portions when his vocal and Peck's violin blend together nearly seamlessly. This is fascinating, and likely one of the probable reasons Harris chose to include both of these two artists on his project. "Journey To The Horizon," on the other hand, is an excellent collaboration between Harris and Peck. This one leans particularly close to the jazz spectrum of the stylistic continuum, as both Harris and Peck trade notes throughout. It leaves the overall impression of a jazz standard, only performed instrumentally. "L'espoir d'ete," is a slow, thoughtful piece. The project's finale, "Song of the Trees," multi-tracks the violin for both a beautiful and mysterious creation. One imagines environmentalism is near and dear to Harris' heart, as the cover photo on his album is a close-up of a very green leaf. The inside cover pictures a similar leaf, only this time a red one. Although it's difficult to pick out just one theme intended for this project, nature is one of it's bigger ones. In addition to the aforementioned "Song of the Trees," along with the leaf photography utilized in the CD's artwork, the land is mentioned in "Over Ice Land," clouds come up with "Between White Clouds" and God's amazing natural invention, the rainbow, plays into "Walking Towards The Rainbow." The overall impression left by this work is that of beauty. Beauty that is consistently found in nature, matched with beautiful music likely intended to reflect nature's beauty. Rock and pop music fans may be hesitant to investigate an album such as this one that prominently features a counter tenor singer in it's credits. For many, the very thought of a classical participant might give them cause to hesitate. However, once you hear what these three talented musicians have created together, your prejudices will likely disappear like a vapor. Reviewer: Dan MacIntosh, Review You Rating: 4 Stars (out of 5) REVIEW Those who haven't listened to a lot of new age releases might think of new age as a genre that is electronic 100% of the time. But while it is true that some new age recordings rely on electronic programming exclusively, that is by no means true of all new age recordings. Many other new age albums have successfully combined the electronic and the acoustic. On such albums, electronic programming and synthesizers are likely to be used alongside acous- Shop: odax
- Price: 15.42 EUR excl. shipping
-
Manhattan: Season 1
Set against the backdrop of the greatest race against time in the history of science - the mission to build the world's first atomic bomb in Los Alamos, New Mexico - Manhattan follows the project's brilliant but flawed scientists and their families as they attempt to coexist in a world where secrets and lies infiltrate every aspect of their lives.- Shop: odax
- Price: 55.50 EUR excl. shipping
-
Dark Side of Rhe Bass
Bass World magazine n° 33 Sounding Board The Dark Side of the Bass Francesco Fraioli, double bass Francesco Buccarella, piano N.B.B. Records NBB23 2009 The dark Side of the Bass features stunning performances by Italian double bassist Francesco Fraioli with Francesco Buccarella on piano. The CD includes three sonatas for double bass and piano by the composers Vilmos Montag, Hans-Peter Linde and Paul Hindemith. On the first track, the first movement (Allegro moderato) of the sonata by Vilmos Montag, Fraioli establishes his wide range of dynamic expression and depth of lyricism. Clearly, he is very influenced by one of his teachers, Francesco Petracchi.The entire work demands a legato tone that must be maintained over the wide register and over string crossings. Fraioli's agile shifting and string crossing technique allows him to maintain the dramatic and intense lyricism that score demands. Aided by the recording engineer's decision to utilize a close mic, he is able to clearly articulate every note of the rapid gestures while sustaining his lyricism throughout. However, it was very surprising to hear him occasionally negate his best qualities by opting to perform some of the spiccato passages very off-the-string. Fraioli's pizzicato tone is supportive, deep,very sustained, rich in overtones, and most importantly, dark in timbre. This is especially true at the end of the first movement. Perhaps his dark, rich timbre is what inspired the title of the CD. Despite the close mic, which favors clarity of fundamental frequencies and transients of the envelope more than the overtones of the bass, I'm even more impressed at how Fraioli was able to achieve such dark timbres under these circumstances. The Vilmos Montag Sonata was composed in 1967, but it's careful chromaticism and restrained emotion will remind the listener of the conservative romanticism of the cosmopolitan French tradition of the late 19th century. In other words, if you liked César Franck's Sonata for Violin and Piano, you will like the Montag. The effective writing is very idiomatic and does not confront the double bassist with unreasonable and unmanageable difficulties. Vilmos Montag wrote the Sonata for his brother, Lajos Montag, a double bassist. The Sonata by Hans-Peter Linde, also written in 1967, will immediately remind listeners of the music of Shostakovich, especially the fugato section of the first movement. Also, like much of the music of Shostakovich, the Sonata by Hans-Peter Linde successfully walks the tightrope between the two extremes demanded by late 20th century audiences. It is accessible to the casual listener, yet the work can also satisfy the more sophisticated listener who also wants to analyze the work on multiple levels. Fraioli's approach on the Linde Sonata differs from the Montag. It is much more passive, careful, and in some places, even introspective in nature. The approach is cautious, carefully studied and rigorously appropriate. It is absolutely à propos for the mood of the Linde Sonata. There are formidable double stops in the third movement, and Fraioli executes them with poise and precision. The final sonata on the CD is Paul Hindemith's Sonata for Double Bass and PIano (1949). Fraioli realizes this venerable staple of 20th century repertoire with distinctive lyricism. Both Fraioli and pianist Francesco Buccarella eschew the traditional, misguided practice of square, mechanical and cold phrasing that has often plagued performances of the Hindemith Sonata. From the first sustained note, Fraioli shapes each note with sensitive detail drawing from his expressive vibrato and his command of the lyrical strokes in his right-hand bowing technique. The interpretation is fresh and classic all at once. The recording engineers Lorenzo Gerace and Stefano Cappelli are to be commended for their recording of the piano and double bass in an unusual space that would normally invite unwanted resonances and distortions of the sound waves. Not only did they compensate for such an unfavorable environment, they were able to allow the reverberations of the hall to appropriately color the sound of the double bass and piano. The balance of the double bass and piano in terms of volume and frequency distribution across the spectrum allowed for a unification of the two instruments as a chamber ensemble and ultimately empowered the musicians to produce a recording that is both transparent and ideal. -review by Jeremy Baguyos ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ The dark side of the bass project aims at emphasizing the "hidden" assets and qualities of the double bass, on the one hand highlighting the instrument's enthralling poetic aspect while on the other hand stimulating interest in it's repertoire. Conceived together with Luca Aversano, lecturer in the history of music at the DAMS department of Roma Tre University College of Liberal Arts, the project's relationship with the academic world has proved so fruitful that it has transcended the mere cultural level and lead to the shared use of a physical space. In fact, the university's main hall was transformed into a recording studio that hosted both the musical performances and the recording sessions. Relying on the technical mastery and performance skills of Francesco Fraioli on double bass and Francesco Buccarella on piano, The dark side of the bass features works by Vilmos Montag (Sonata in E minor, 1967), Hans-Peter Linde (Sonata in E, 1967) and Paul Hindemith (Sonata, 1949). Besides their being paradigmatic examples of twentieth century music, the artistic style of double bass, as brought into play by these works, has proved a valid testing ground for daring musical experiments, whilst allowing for the creation of refined aural moods. One of the highlights of the CD, for both it's cultural and historical relevance, is the premiere recording of Hans-Peter Linde's Sonata in E (1967). Furthermore, the author has even agreed to be personally involved in the project by providing an introductory note to the sonata for the booklet accompanying the CD. Luca Aversano ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------Vilmos Montag, sonata in e minor for double bass and piano (Ed. F Hoffmeister, 1967) Vilmos Montag was born in Budapest February 16, 1908. A student of V. Kladirko and N. Zsolt, he received his diploma in violin at the music high school in Budapest. Later, he graduated in orchestral conducting at the national conservatory. At the same time, he studied composition with L. Lajtha and graduated with honors (Franz Liszt award). At the age of 20, Montag joined the Budapest Opera orchestra as well as that of the philharmonic society. In 1957 he moved to Sweden where he continued composing and where he died in 1991. His musical production consists of pieces for piano solo, a method on piano playing, 5 cadenzas written for the classical concert repertoire, orchestral works, chamber music and a mass. The sonata for double bass and piano in e minor, composed in 1967, is a product not only of musical inspiration, but of family alliances, as well. In fact, it was his brother Lajos Montag who asked him to compose a piece for the double bass. Lajos was a first rate double bassist and composed considerable music as well as a didactic method for the instrument. The part of the double bass in this sonata is transposed a step down from the normal pitch, except for the lowest string. The three higher strings are raised a whole tone according to the classic tuning of Bottesini, while the bottom e-string remains the same. The result is a mixed tuning which opens up new melodic possibilities. Instead of the normal perfect 4th intervals between the strings: e-a-d-g, we now have e-b-e-a. A perf- Shop: odax
- Price: 21.09 EUR excl. shipping
-
Every Dog Has It's Day
James Wesley Stemple has had a prolific career composing music for film and television, applying his natural diversity of style and attitude to suit each project's inherent uniqueness. James is comfortable working both domestically and internationally, and has crafted music for features, television, documentaries, animation, commercials and live performance. Sparked by the challenges of exploring new directions and diverse styles, the projects he pursues are usually ones he feels strongly about, despite box-office projections.- Shop: odax
- Price: 17.02 EUR excl. shipping
