7 Results for : freelances

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    Condor: The Gabriel Wolfe Thrillers, Book 3 , Hörbuch, Digital, ungekürzt, 654min
    A suicide bomber boards a crowded bus in central London. Ex-SAS captain Gabriel Wolfe, now struggling with PTSD, is having a coffee just yards away. In the ensuing carnage, Gabriel is plunged into a bloody memory of his last, botched mission. Plagued by visions of the dead comrade he left behind, Gabriel now freelances for The Department, a secret British Government hit squad. He wants to take out whoever ordered the attack. Gabriel's desire for vengeance leads him to Eden, the Brazilian rainforest compound of a religious cult called The Children of Heaven. The cult's leader is "Père Christophe", a psychopath with a taste for fine wines, Mozart, and extreme violence. But when Gabriel arrives, he is brainwashed, brutalized, and fitted for his own suicide vest. Then his real battle begins. To prevent more deaths...including his own. This edge-of-your-seat action thriller is the third full-length outing for Andy Maslen's "hero among us", Gabriel Wolfe. Condor combines heart-stopping action with nightmarish scenes of psychological breakdown. Fans of Lee Child, James Patterson, Vince Flynn, and Daniel Silva are already saluting Maslen as an author to watch. If you like your heroes flawed as well as resourceful, you'll love Gabriel Wolfe. ungekürzt. Language: English. Narrator: Anthony Howard. Audio sample: https://samples.audible.de/bk/acx0/088155/bk_acx0_088155_sample.mp3. Digital audiobook in aax.
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    Apples of Gold: Timely Advice When the World Doesn't Seem Lovely , Hörbuch, Digital, ungekürzt, 150min
    “Timely advice is lovely, like golden apples in a silver basket.” (Proverbs 25:11, NLT)The turbulent times we live in require us to look at our changing world in new ways if we hope to find the blessings that will sustain us. The short, easy-to-follow vignettes in this book focus on sifting the true and positive out of the grit and grime of daily life.Like the abundance of apples we can choose from to satisfy our varying tastes, there are different kinds of stories in this book. A few are specifically about the Coronavirus; most are not. Some mention God; most are as practical as they are spiritual. There are even some poems sprinkled in for good measure. All of the pieces are intended to help listeners seek strength and joy in the challenging days that have come upon us.Delve into the silver basket and find the golden apples that await you.Jo Elizabeth Pinto was among the first blind students to integrate the public schools in the 1970s. In 1992, she received a degree in Human Services from the University of Northern Colorado. While teaching students how to use adaptive technology, she earned a second degree in 2004 from the Metropolitan State College of Denver in Nonprofit Management. These days, she freelances as an editor and a braille proofreader.As an author, Pinto entertains her listeners while giving them food for thought. In her fiction, nonfiction, and poetry, she draws on personal experience to illustrate that hope is always an action away.Pinto lives in Colorado with her husband, her preteen daughter, and their pets. ungekürzt. Language: English. Narrator: Marni Penning. Audio sample: https://samples.audible.de/bk/acx0/231718/bk_acx0_231718_sample.mp3. Digital audiobook in aax.
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    Rhyme or Reason
    James Walker is a percussionist and composer specializing in jazz vibraphone and marimba. His music ranges from acoustic, straight-ahead jazz, to more electronic contemporary styles. James is one of the minority of jazz mallet players who have embraced electronics in creating his sound, using effects processing to create new timbres rooted in the beautiful natural sound of the vibraphone. James' personal sound is influenced not only by vibraphone masters such as Gary Burton and Bobby Hutcherson, but also by guitarists like Mike Stern and Pat Metheny. RHYME OR REASON has achieved radio air play in the US and abroad, and James' writings on percussion and jazz performance have been featured in Percussive Notes and Jazz Player magazines. Check out the sound files listed at left to hear the variety of sounds found in James' mallet work, including the warm electronic vibes sound (using signal processing) on 'Mirage,' the marimba background figures on 'Passport,' and the variety of percussion instruments used on 'East Shore,' ranging from vibraphone to steel pan to orchestra bells. The CD also reflects a variety of musical styles, including the Brazilian-influenced 'Mirage' and 'Passport,' the straight-ahead jazz of 'The Natural,' the Pat Metheny-inspired 'East Shore,' and the ballad, 'Don't Go.' A native New Englander, James recently returned to his home state of Connecticut after spending several years in the greater Chicago area. He currently resides in western Connecticut with his wife, Sara (sharing their home with their cats, Charlie, Murphy and Sammy). In addition to leading his own group, James freelances throughout the northeast corner of the U.S., having worked with such prominent local artists as Lance James, singer Mary Taylor, and percussionist Dwight Baldwin. He has recorded as a sideman with jazz saxophonist Ken Gioffre, singer/songwriter Michael Branden, guitarist Brad Ard, and Chicago steel pan artist Paul G. Ross.
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    Complete Works for Cello & Piano
    Ludwig van Beethoven Complete Works for Piano and Cello Sonata in F Major, Op. 5 No. 1 Adagio sostenuto - Allegro RONDO: Allegro vivace Sonata in C Major, Op. 102 No. 1 Andante - Allegro vivace Adagio - Allegro vivace Variations on Mozart's "Ein Mädchen oder Weibchen" from Die Zauberflöte, Op. 66 Sonata in A Major, Op. 69 Allegro ma non tanto SCHERZO: Allegro molto Adagio - Allegro vivace Variations on Handel's "See, the Conquering Hero Comes" from Judas Maccabeus, WoO 45 Sonata in G minor, Op. 5 No. 2 Adagio sostenuto e espressivo Allegro molto più tosto presto Rondo: Allegro Variations on Mozart's 'Bei Männern welche Liebe Fühlen' from Die Zauberflöte, WoO 46 Sonata in D Major, Op. 102 No. 2 Allegro con brio Adagio con molto sentimento d'affeto The Florestan Duo - Stefan Kartman, cello and Jeannie Yu, piano Stefan Kartman, cello, and Jeannie Yu, piano, are two brilliant soloists whose passion for chamber music brought them together in 1987 during their studies at the Juilliard School of Music. Like-minded musicians who share the same concept of an ideal sound, musical expressiveness, and excellence, they carry on a tra-dition whose lineage reaches directly back to the romantic period of Johannes Brahms. This tradition is the basis of inspiration for these shared ideals. Their first meeting occurred in the studio of violinist Joseph Fuchs as they studied Mendelssohn's Piano Trio in C minor. They continued to study chamber music with Fuchs and sonatas with cellist Harvey Shapiro and pia-nist Martin Canin until their graduation in 1989. Both members of the Florestan Duo have since earned their Doctor of Musical Arts degrees and have also worked with cellists Bernard Greenhouse and Zara Nelsova and pianists Susan Starr and Ann Schein, among others. Kartman and Yu have performed to critical acclaim in concert halls and educational institutions throughout the United States, Europe, and the Far East. Recordings of their performances have been aired on WQXR in New York, WFMT in Chicago, and WOI in Ames, Iowa. Most recently they have returned from critically acclaimed tours of Korea, Taiwan, Holland, Italy, and China, including solo performances with the Xiamen Symphony and recitals as a duo in Xiamen, Jinmei, Shanghai, Soest, and Verona. Both members of the Florestan Duo are accomplished teachers of chamber music and solo repertoire, having served on the faculties of Drake University, Illinois Wesleyan University, the Wisconsin Conservatory of Music, the MidAmerica Chamber Music Institute at Ohio Wesleyan University, the Alfred University Summer Chamber Music Institute under the artistic directorship of Joseph Fuchs, the Milwaukee Chamber Music Festival, and the Green Mountain Chamber Music Festival under the artistic directorship of Kevin Lawrence. Kartman is associate professor of cello and chamber music at the University of Wisconsin-Milwaukee and Yu freelances in the Milwaukee and Chicago metropolitan areas. Sonata No. 1 in F Major, Op. 5 No. 1 Beethoven's First Cello Sonata begins with a large slow introduction. While it wanders tonally somewhat, it fulfills the essential role of the introduction-to state the main key at the beginning, and to prepare for a return to that key as the Allegro begins. Scholars have pointed to Mozart's Violin Sonata in G major, K. 379, as a pos-sible model for this introduction. To be sure, Mozart's introduction is of similar breadth and tonal plan, and we must remember that Beethoven's principal models for writing cello sonatas-lacking earlier works for cello with a written-out (i.e., not basso continuo) keyboard part-were Mozart's sonatas for violin and piano, which number around twenty. Beethoven's Allegro begins with a long theme, reminiscent to the large theme in the same position in his Septet in E-flat, Op. 20, presented first by the piano and them taken up by the cello. The two sonatas of Op. 5 are vehicles for Beethoven as a young piano virtuoso, written during his stay in Berlin during a concert tour in the spring and summer of 1796. He has given himself, as well as the cellist with whom he was working, Jean Louis Duport, passages of considerable virtuosity. The astute listener will notice pas-sages strikingly similar to portions of Mozart's piano sonatas K. 333 and 570. The movement concludes with a substantial coda which, after the tempo slows to Adagio, turns to a cadenza-like passage, ending with the traditional trill, and reinforcing the virtuoso nature of the work. There is no slow movement. Perhaps the large slow introduction rendered one unnecessary, or perhaps Mozart's several two-movement violin sonatas served as models. The second and final movement, a rondo, begins without stating it's main key clearly, an approach Beethoven also utilized in both movements of the Second Sonata, Op. 5 No. 2 (and Mozart did similarly in the Violin Sonata in C, K. 303, first movement, in the Molto allegro). The writing, again, calls for virtuoso players, and there are marvelous passages in which the cello sustains an open fifth drone while the piano plays an arpeggiated idea. Slower tempos near the end lead to a brilliant conclusion. Sonata No. 4 in C Major, Op. 102 No. 1 "It is so original that no one can understand it on first hearing." So wrote Michael Frey, Hofkapellmeister at Mannheim, about Beethoven's Fourth Cello Sonata. The autograph manuscript of the sonata is dated "toward the end of July 1815," and he titled the work a "free sonata." That it is freer than it's companion, Op. 102 No. 2 (titled simply "sonata"), is evident in the respective layout of the sonatas' movements. While no. 2 is a conventional fast-slow-fast cycle, no. 1 is organized most distinctively. The sonata begins with the cello alone, like the Third Sonata, Op. 69, presenting an idea that comes to take on considerable significance in the totality of the work. The tempo is Andante, and the passage gives way to a concise Allegro vivace in sonata form. Yet the introduction is tonally very unconventional. It ostensibly begins in the home key, though the key of C is not stated explicitly at the beginning. And the introduction ends in the tonic, not the conventional dominant-but the Allegro vivace that follows is in A minor, not C major, and the structure that ensues is in keeping with the traditional treatment of A minor. The music that follows appears initially to be the slow movement. Marked Adagio, it is replete with ornamental gestures, and proves to be more an interlude than a full slow movement. (The only true slow movement in Beethoven's cello sonatas is in the Fifth Sonata, Op. 102 No. 2.) This Adagio, only nine measures long, gives way to a return of the material that began the sonata, a cyclic return of seven measures that leads to the finale, a lighthearted sonata form movement in the home key of C. It's fugal development section might be viewed as a counterpart to the fugal finale of Op. 102 No. 2. Further, the overall shape of the Fourth Sonata, including the cyclic return of it's opening idea, is also to be found in the Piano Sonata in A major, Op. 101, written in the same period, and it has been suggested that the works that comprise Beethoven's Opp. 101 and 102 comprise a trilogy. Variations on Mozart's "Ein Mädchen oder Weibchen" from Die Zauberflöte, Op. 66 Beethoven composed this first of his two sets of variations on a theme from Mozart's Die Zauberflöte in 1796, in the same period when he wrote the two cello sonatas Op. 5, and it was published in Vienna in 1798. The passage from the opera that he selected appears late in the second and final act. It is a catchy, strophic song for Papageno, the bucolic and comic figure of a bird-catcher who is an amusing and gently annoying character during the opera, ever since his initial appearance in the second number of act I ("Der Vogelfänger bin ich ja"). In "Ein Mädchen oder Weibchen," Papageno pines for a girlfriend-and it works, as Papagena enters just as the aria concludes, appearin
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    Unearthly Music
    Praised for her virtuosic skill and evocative musicality, Australian based flautist Kathryn Moorhead enjoys a diverse career as a soloist, chamber artist, and orchestral performer. She has received Master of Music degrees from the University of Melbourne Conservatorium and Brabants Conservatorium in Holland. Scholarships from the Australian Elizabethan Theatre Trust and the Ian Potter Foundation enabled her to study at the Amsterdam Conservatory and Lulea University in Sweden, taking lessons and masterclasses from Harrie Starreveld, Leon Berendse, Andreas Blau, Emmanuel Pahud and Goran Marcusson. Kathryn has performed with the Melbourne, Adelaide, Tasmanian and the Netherlands Symphony Orchestra, the Adelaide Chamber Orchestra and Orchestra Victoria. She has performed in guest Principal positions with the Queensland Orchestra, the Auckland Philharmonia and the Malaysian Philhamonic Orchestra, as well as appearing with ensembles in International Arts Festivals in Melbourne, Adelaide, Brisbane, Aberdeen, and London. Kathryn has won prizes in the Leslie Barklamb Flute Competition and the Australian International Solo Flute Competition. Her CD 'Unearthly Music' for flute and piano has received frequent airplay on ABC Classic FM, Radio National Australia, and radio stations across the USA and Asia. Kathryn currently freelances with the Melbourne Symphony Orchestra, Orchestra Victoria, the Miscellany Ensemble, and is completing a PhD in Music at the University of Adelaide, Australia. Claire Cooper studied with John Winther at the Canberra School of Music, and later at the Hong Kong Academy for Performing Arts. She spent five years as repetiteur and accompanist for the Victorian College of the Arts and is currently a member of staff at the Faculty of Music, University of Melbourne as an accompanist. Claire has worked extensively in Melbourne with major music organisations and festivals, and has an extensive and wide-ranging repertoire. This CD is a tribute to 20th century Australian women composers.
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    Brazilian Dances & Inventions for Bassoon Flute &
    Brazilian Dances and Inventions is a meeting of popular and erudite musical forms, portraying the deeply melodic, rhythmically complex nature of Brazilian music through the voices of bassoon, clarinet and flute. Dances such as the polka, baião, forro, samba and waltz contrast with inventions that incorporate imitative counterpoint in a range of tonalities. Artists Bios Janet Grice, bassoon, has a Doctorate from Rutgers University and degrees from the New England Conservatory and New York University. A recipient of a Fulbright Fellowship in Brazil and grants from the National Endowment, Meet the Composer and Arts International, she performed internationally, recorded for Music Minus One and numerous jazz and classical artists, and produced three CDs of original and Brazilian jazz. She freelances in New York, performs regularly in Brazil, is a bassoon instructor, and teaches for the New York Dept. Of Education. Kevin Willois, flute, played on the R&B circuit in New York, then earned a Bachelors and Masters Degree from Rutgers University. He plays with the Sonora Winds, Actor's Net regional theater in Pennsylvania, and Chelsea Opera, and teaches flute and music theory at the Westminster Conservatory, Rutgers University, and the Peddie School. Sarah Bednarcik, clarinet, has a Bachelors degree from Northwestern University and a Masters from Rutgers University, and freelances in New Jersey ensembles. She is a public school music teacher and maintains a private clarinet studio. Vento Trio began performing together while graduate students at Rutgers University. The group performs 'Music of the Americas' programs in the New York City metropolitan area, and performed in Brazil and France.
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    Histoire de Babar Le Petit Elephant
    OboeBass! The Vecchione/Erdahl Duo has created their own unique genre of 'chamber music of a different color' for oboe/English horn and double bass. 'Pages of Music with Rolf and Carrie,' they mix music and literature in educational programs for all ages. Minnesota Public Radio's Steve Staruch calls them"pioneers in the classical music business. Forging ahead with a new chamber music combination that has them performing recently commissioned works, putting together their own music series in Lakeville, and giving concerts in out of the way places. Who would have guessed that an Oboe/Bass duo combination would sound so....well, so right!" Carrie Vecchione teaches oboe at the MacPhail Center for Music, Minneapolis, and freelances in the Twin Cities area. She has soloed in the Carnegie Hall, has served as Principal Oboe for the Duluth Superior Symphony Orchestra and Indianapolis Chamber Orchestra, been a member of the Baton Rouge Symphony and Ft. Wayne Philharmonic, and taught at the Univ. Of WI, Eau Claire, St. Olaf College, Ball State Univ., the Sewanee Summer Music Center, and the International Peace Gardens Music Camp. Rolf Erdahl teaches bass at Gustavus Adolphus College. Previously he was Principal Bass of the Winnipeg Symphony and Manitoba Chamber Orchestra, and has been a member of the Honolulu Symphony, Breckenridge Music Festival, Fort Wayne Philharmonic, Bergen Philharmonic, and New World Symphony. He is an authority on the music of Edvard Grieg. William Eddins, piano, is also the Music Director of the Edmonton Symphony. He's in demand around the globe as a conductor and concert pianist. He is also a really good cook and is extremely fond of elephants. Steve Staruch, narrator, is well-known personality and producer at Classical Minnesota Public. He is the M-F afternoon host and storyteller and does the classical request program Friday Favorites. Staruch is an active freelance singer and violist with leading ensembles in the Twin Cities. The music of Margi Griebling-Haigh has been characterized as haunting, charismatic, yearning, wistful, lyrical, colorful, and insoucient! She is concerned with conveying emotions and moods, but firmly believes in the powers of memorable melodies and rhythms and strong formal structure. While her music is sometimes technically challenging and rhythmically tricky, consideration for the comfort and enjoyment of performers and audience members alike is of great importance. Simply put, her music is effective and charming. Margi is also an oboist, married to a bassist, Scott Haigh, First Assistant Principal Bass of the Cleveland Orchestra. Her familiarity of the possibilities of both instruments makes her uniquely qualified as a composer of oboe/bass duos! Humor is also an important hallmark of her style.
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