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  Ethics of Literary Communication

  Ethics of Literary Communication - Genuineness directness indirectness: ab 131.99 €

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  • Price: 131.99 EUR excl. shipping
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  Speech Acts Directness and Politeness in Dubbing

  Speech Acts Directness and Politeness in Dubbing - American Television Series in Hungary: ab 68.49 €

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  Directness and Indirectness Across Cultures

  Directness and Indirectness Across Cultures: ab 90.99 €

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  The peasant girl

  All the music in this eclectic programme reflects the phenomenal influence of gypsy music on both classical and jazz music in the 20th century - even when wearing smart "classical" clothes, the music of the gypsies cannot disguise its honesty, directness and the heart beating inside the clothes.

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  Stabat Mater

  Britten Sinfonia // World premiere recording of James MacMillan's Stabat Mater // Few living composers communicate with the emotional directness of Sir James MacMillan, and performances of his new Stabat Mater are eagerly anticipated. The Sixteen gave the world premiere of this work at a series of concerts in October 2016 as well as recording the work for their own record label, CORO.

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  Ode to Dante

  Carol Lian is known as an innovative, original pianist, receiving considerable critical acclaim for her exceptional ability to cross the lines between the performance and interpretation of classical repertoire as well as performing improvisations in her own style . These improvisations are spontaneous works which critics have lauded as lyrical, original, fascinating and intriguing, remarking that she convincingly blends various traditions without lapsing into mere eclecticism. These spontaneous 9 improvisations were inspired by 13th century poet Dante's masterpiece The Inferno, an intense and moving human drama and story of a man's way through the infinite torment of Hell in his search for Paradise. Lian's captivating performance takes you on a journey through music that somehow leaves you changed,and wanting to listen again and again. In Lian's words,' I was so overwhelmed with the power of Dante's poetry, his ability to communicate sensory, visual and emotional thoughts with such directness,honesty,and simplicity, that the unexplained reaction to this was the 9 improvisations as a tribute to his remarkable art.

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  Christmas Fantasy & Other Favorites

  A Christmas Fantasy and Other Favorites begins and ends with musical versions of 'The Night Before Christmas.' The opening movement of the Fantasy Concerto 'On Christmas Themes' for Piano and Orchestra is a musical setting of Clement Clark Moore's poem 'A Visit from St. Nicholas,' better known as 'The Night Before Christmas.' The music begins with the quiet house where 'not a creature is stirring, not even a mouse.' The piano enters with the first variation of the Christmas carols 'God Rest Ye Merry Gentlemen' and ' Silent Night,' and builds to the arrival of St. Nicholas 'Up On the Housetop.' The second movement is 'Silent Night' in the Christmas wrappings of a chorale prelude, followed by humorous variations on Leroy Anderson's 'Sleigh Ride.' Commissioned by Seth Montfort for the San Francisco Concerto Orchestra, Montfort asked McFarland to compose a Christmas piece with an American sound-the listener will hear echoes of American composers: Gottschalk, Gershwin and Anderson. Ron McFarland, a California native, has known the glare of the limelight since his teens. He has been praised by major critics both as composer and pianist with comments like, 'The music reveals much of the man...romantic and passionate,' 'compelling lyricism,' 'fresh and original,' and 'dreamy obstinate and emotional, ever direct and accessible.' Renowned Bay Area music critic Stephanie von Buchau wrote, 'McFarland's music has a fresh musical viewpoint. One is not assaulted by bizarre concepts or noises that pass for 'originality'... [using] traditional forms and melodic material, he aims for individual expression of emotion, and that alone is enough to make him a rare duck in contemporary music.' At the age of sixteen he became a protégé of the legendary Ethel Leginska, and after three years of study he made a successful Los Angeles piano debut with symphony conducted by Leginska. The L.A. Examiner wrote, 'his tone quality, his emotional directness and his amazing fluent fingers added to a musical grasp of light and shade, earned this teen-ager repeated calls from his listeners.' He was then invited to live in an apartment adjacent to Leginska's Hollywood studio. It was during the next three years while living at her studio that he met and performed for numerous internationally known artists, composers and conductors, who included: Artur Schnabel, Benjamin Britten and Bruno Walter. While still in his teens, he studied composition with Arnold Schoenberg, one of the greatest masters of 20th Century composition and later continued his studies in orchestration with David Sheinfeld in San Francisco. After playing several solo piano pieces including two from his own unfinished 'Piano Suite,' it was Bruno Walter who said, 'Young man, your are a fine pianist, and I certainly don't mean you should give it up, but this is the real you - a composer. Perhaps a composer-pianist, but a composer first!' Leginska and Schoenberg were the two most important teachers in his young life. He remembers Leginska as a very demanding taskmaster who stipulated that her students enter as many competitions as possible, because she believed the experience was tantamount to launching concert careers - as finalist in the Hollywood Bowl competition he performed with the KFI-Hollywood Bowl Symphony Orchestra conducted by James Sample. After six years of study with Leginska, he left the Hollywood world of recitals and competitions and traveled to New Orleans, where he began a career as an artist. While in New Orleans, he met the Hungarian pianist Istvan Nadas, a teacher at Loyola University, and decided to renew his piano studies. Later, when Nadas accepted a teaching position at the San Francisco Conservatory, McFarland decided to return to California as well. During the long drive from New Orleans to San Francisco, he was haunted by the strains of the unfinished 'Suite for Piano' that he had begun with Schoenberg. He could hardly wait to reach the Bay Area and put his musical thoughts down of paper - his Op 1. It was then that writing music became the major commitment in his life. When Nadas heard the completed 'Suite' he was so taken with it that he included it in his Festival of 20th Century Piano Music at San Francisco State University. The work then won first prize and a 'Special Achievement Award' from the Composers Today Competition of the Music Teachers' Association of California. McFarland began writing for many different combinations of instruments, including compositions for violin, string quartet, two-pianos, including a suite for orchestra with narrator, and a children's opera for San Domenico's School Festivals. He next embarked on writing 'The Donner Party,' an opera based on the prize-winning book by George Keithley, with libretto by Maria Woodward on a commission from Chico State University. The Opera News review read, 'The pioneers reach the top of the Wasatch Mountains to a glorious up-welling in the orchestra worthy of Bartok. The Passacaglia theme imprints itself vividly on the ear and the final duet is beautifully lyrical.' The Berkeley Symphony conducted by Kent Nagano performed a concert version of this opera called 'Tamsen Donner.' Nagano called the work, 'a score to be treated with respect and one worthy of a great production.' McFarland's second opera, 'Song of Pegasus,' was a finalist in New York University's American Opera Competition. It has since received many performances, including the summer 'In Performance' series, conducted by noted San Francisco Ballet and Opera conductor Denis de Coteau. He joined the Bay Area Playwrights Festival Opera Studio, funded by a grant from the National Endowment for the Arts, where he composed his often performed comic opera 'The Audition Of Molly Bloom.' The S.F. Examiner called McFarland's 'amusingly schizophrenic 'Molly Bloom,' a hypothetical audition piece that toys with Mozart and comes awfully close to being a hip saloon piece.' Besides the operas mentioned above, he has written symphonies, concertos, chamber works, songs and music for the piano, theater and for children. The second of his commissions from the San Francisco Girls Chorus was 'The Night Before Christmas' that became the centerpiece of their Sing-Along Christmas Concert and premiered at Davies Symphony Hall in San Francisco. A notable collaboration occurred when he received a call from Edward Hastings, Artistic Director of the American Conservatory Theatre, to write the incidental music for Hastings' production of 'King Lear.' It's success led him to write a version for two spoken voices with instruments, premiered with 'Lear' actors Peter Donat and Fredi Olster. A third version for singers resulted from the request of Metropolitan Opera tenor William Lewis, who gave it's premiere performance. McFarland's music has been commissioned, performed, and broadcast by such organizations as the Alexander String Quartet, Marin Arts Quartet, Marin Symphony, Old First Concerts, Composers, Inc. California Shakespeare Festival, New Eureka Theatre, San Francisco Concerto Orchestra, Voices/SF, Kensington Symphony Orchestra, Squaw Valley Creative Arts Society, College of Marin, American Concert Association, San Francisco Musical Club, Marin Chamber Orchestra, Guest Concert Series, Dominican University, Chamber Music Sundaes, Navarro Trio, Cinnabar Opera Theater, Angelo Piano Duo, KKHI Sunday Morning and KKHI Friday Night Concerts. He has received grants and awards from such organizations as the ASCAP, University of Cincinnati Piano Concerto Competition, Opera America, and five 1st prizes from Composers Today Competition. He has lectured for California Colleges and Universities, including S.F. City College Concert Lecture Series, USC Composers Forum, UC Berkeley, MTAC Artists Series, Chico State University, and Star Classics Composer and Performer.

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  Music for Voice

  THE OWL AND THE PUSSY-CAT AND OTHER SONGS OF LOVE Here are eight songs by diverse poets. Among them are Edward Lear's whimsical yet touching nonsense-romance, "The Owl and the Pussy-Cat," Conrad Aiken's plaintive remembrance of a life partner, "Music I Heard with You," and Daniel Ladinsky's exuberant "There Is a Wonderful Game," an invitation to realize the transcendent unity of all mankind. FOUR SONGS OF EDNA ST. VINCENT MILLAY This cycle includes "Recuerdo", one of Millay's most familiar poems, in which the poet recalls a happy night traveling back and forth on the Staten Island Ferry, and "Afternoon on a Hill", a song of youthful delight in nature. SANCTUS This is a portion of the Mass, in Latin. Composed in five sections, the short text becomes a full canvas of personal, spiritual feeling: from rapturous praise, to quiet and steadfast faith, to a sense of urgent pleading that we, on earth, become aware of God's glorious presence. TOM HERMAN'S compositions have been performed both in the United States and Canada as well as in Europe. He has written art songs, chamber music, and music theater pieces for which he served both as composer and lyricist. He has received various grants for composition, including a National Endowment Fellowship Award for his theater piece "Objets trouvés." Mr. Herman has taught at Fordham University and Sarah Lawrence College. REBECCA LUKER starred in the acclaimed revival of "The Music Man," garnering Tony, Drama Desk, and Outer Critics Circle Award nominations for her role as Marian. She appeared in the Kennedy Center production of Stephen Sondheim's "Passion," and her other theatrical credits include roles in "Mary Poppins," "Nine," "The Sound of Music," " Show Boat," "The Secret Garden," and "The Phantom of the Opera." She performed in the New York City Opera production of "Brigadoon" and has appeared with many orchestras, including the New Jersey and St. Louis Symphonies, the Hollywood Bowl, and the Boston Pops. Her numerous recording credits include "Leaving Home," "Anything Goes: Rebecca Luker Sings Cole Porter," "The Sound of Music," "The Secret Garden," and "The Music Man." REVIEW BY ROB LESTER at talkinbroadway.com: Setting various texts and poems with moods ranging from dreamy-romantic to sorrowful to the reverence of the Latin Mass, composer Tom Herman has found the dream of a muse for his music-Broadway's Rebecca Luker. The CD begins with a sprightly tune for the kid-friendly Edward Lear tale of the inter-species marriage of "The Owl and the Pussycat" before going into more serious material, with some pieces that could be classified as art songs. The often-surprising melody lines are variously tender and intimate or soaringly joyful or meditative. Versatile Rebecca Luker truly serves the material. Happily, the wide-ranging melodies with some shimmering ascents and elastic lines also become a showcase for her strong and glorious, clear soprano voice. Her chameleon-like performance proves her to be comfortably at home with each piece. Her strengths include projecting a sense of awe in both the Mass and various love-struck romantic ruminations. Rhapsodically, "Recuerdo" relishes a rush of memories of a heady night for two lovers, one of the five poems of Edna St. Vncent Millay. Not all is sweetness and light. Addressed subjects include grieving and loss, both for specific people and times gone by. Though they confront sorrow, the musical choices and interpretation keep the sad subject matter in a thoughtful mode, rather than drowning in melodramatic mawkish misery. There's a classical elegance here that makes feelings float rather than spurt. The long-lined legato approach with a high voice sometimes has the music and voice demand a listener's initial attention more so than the words. The album title stating this is music for voice perhaps justifies this. There is no question, however, that agendas for mood-setting and broad strokes are definitely achieved, even if some specific images that are painted in the words are swept along in the wave of music. These assert themselves more with repeated listenings and by following the full texts provided in the booklet (which also characterizes each piece succinctly in liner notes by the composer). Accompaniment does not distract or diffuse, as it is kept minimalistic. Recital style, there is just piano for the first 12 tracks (well done by Brian Zeger for eight and Joseph Thalken for the cluster of four short Millay poems). The Sanctus features Grant Wenaus on piano and adds the cello of Clay Ruede, a great asset not just for variety but for his fine work. Especially effective and evocative is "I, Icarus" (text by Alden Nowlan), where the speaker recalls, "I lay on my bed and willed myself to fly." Without resorting to telegraphing or cliché, composer Herman makes musical choices to illustrate the poem's images of flight and the repeated words "above," "higher" and "slowly" to tell the story and give it also an attitude of determined convincingness and a longing for a long-ago time. Taking up more than one third of the album's playing time (49:43), the Sanctus from the Mass is in five movements, just using the few lines over and over, so it's in it's own category. It's a matter of glorying in the glory (of the Lord and the Heaven-sent music and lovely, lithe Luker vocal sounds that swell and soar). Recording classical music and a reverential approach is not a new feather in the singer's cap: she has lent her voice to a series of Aria albums that use her soprano's ethereal quality. Here it's the brightness and clarity and directness of the approach that are front and center. Still, listeners who are strictly Broadway fans and tend not to be musical genre-jumpers may not be as willing to make the leap to the art song and religious territory. But many admirers of Rebecca Luker's gleaming and warm soprano should find the same qualities they've enjoyed on her many cast albums. As for composer Tom Herman, who is new to me, I enjoy his talents on display here and am interested to hear a musical he has on tap, Jack's Back. One piece here has his own words, "Birthday Horoscope for B.R." and that shows sensitivity, too, like his affectionate attention to other words he sets. His other career is as a massage therapist (you may have seen him play one in the 2006 comic film Borat), and Music for Voice, indeed, with it's soothing sounds and sure-handed musicality is like a massage for the ear and brain. There's much to relax to-and be moved by-here, when musical masseuse meets marvelous chanteuse.

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