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  Pasqualini, Matteo: Analisi geomorfica quantitativa e processi di denudazione

  Erscheinungsdatum: 07.02.2019, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: Analisi geomorfica quantitativa e processi di denudazione, Titelzusatz: Bacino idrografico del Fiume Ofanto (Appennino meridionale), Autor: Pasqualini, Matteo, Verlag: Edizioni Accademiche Italiane, Sprache: Italienisch, Rubrik: Geologie, Seiten: 176, Informationen: Paperback, Gewicht: 280 gr, Verkäufer: averdo

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  Pasqualini:Analisi geomorfica quantitat

  Erscheinungsdatum: 07.02.2019, Medium: Taschenbuch, Einband: Kartoniert / Broschiert, Titel: Analisi geomorfica quantitativa e processi di denudazione, Titelzusatz: Bacino idrografico del Fiume Ofanto (Appennino meridionale), Autor: Pasqualini, Matteo, Verlag: Edizioni Accademiche Italiane, Sprache: Italienisch, Rubrik: Geologie, Seiten: 176, Informationen: Paperback, Gewicht: 280 gr, Verkäufer: averdo

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  This Sweet Sickness , Hörbuch, Digital, ungekürzt, 607min

  In This Sweet Sickness, David Kelsey has an unyielding conviction that life will turn out all right for him; he just has to fix "the situation" of being in love with a married woman. Obsessed with Annabelle and the life he has imagined for them, David prepares to win her over, whatever it takes. In this riveting tale of a deluded loner, Highsmith reveals her uncanny ability to draw out the secret obsessions that overwhelm the human heart. ungekürzt. Language: English. Narrator: Tony Pasqualini. Audio sample: https://samples.audible.de/bk/blak/008361/bk_blak_008361_sample.mp3. Digital audiobook in aax.

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  Lying on the Couch: A Novel , Hörbuch, Digital, ungekürzt, 942min

  From the best-selling author of Love's Executioner and When Nietzsche Wept comes a provocative exploration of the unusual relationships three therapists form with their patients. Seymour is a therapist of the old school who blurs the boundary of sexual propriety with one of his clients. Marshal, who is haunted by his own obsessive-compulsive behaviors, is troubled by the role money plays in his dealings with his patients. Finally, there is Ernest Lash. Driven by his sincere desire to help and his faith in psychoanalysis, he invents a radically new approach to therapy - a totally open and honest relationship with a patient that threatens to have devastating results. Exposing the many lies told on and off the psychoanalyst's couch, Lying on the Couch gives listeners a tantalizing, almost illicit glimpse at what their therapists might really be thinking during their sessions. Fascinating, engrossing, and relentlessly intelligent, it ultimately moves listeners with a denouement of surprising humanity and redemptive faith. ungekürzt. Language: English. Narrator: Tony Pasqualini. Audio sample: https://samples.audible.de/bk/blak/008248/bk_blak_008248_sample.mp3. Digital audiobook in aax.

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  The Monet Murders , Hörbuch, Digital, ungekürzt, 460min

  Private investigator to the stars Riley Fitzhugh finds himself caught up in the case of a missing Hollywood beauty - and a stolen Monet - in a 1930s hard-boiled caper as deadly as it is delightful. Hollywood, 1934. Prohibition is finally over, but there is still plenty of crime for an ambitious young private eye to investigate. Though he has a slightly checkered past, Riley Fitzhugh is well connected in the film industry and is hired by a major producer - whose lovely girlfriend has disappeared. He is also hired to recover a stolen Monet, a crime that results in two murders... with more to come. Along the way Riley investigates the gambling ships anchored off LA, gets involved with the girlfriend of the gangster running one of the ships, disposes of the body of a would-be actor who assaults Riley's girlfriend, and meets an elegant English art history professor from UCLA who helps him authenticate several paintings. Living at the Garden of Allah Hotel, Riley meets and assists many Hollywood screenwriters who frequent the hotel bar. Incidentally one of these gents, whose nom de plume is Hobey Baker, might actually be F. Scott Fitzgerald. ungekürzt. Language: English. Narrator: Tony Pasqualini. Audio sample: https://samples.audible.de/bk/blak/007991/bk_blak_007991_sample.mp3. Digital audiobook in aax.

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  The Servant: A Simple Story About the True Essence of Leadership , Hörbuch, Digital, ungekürzt, 300min

  With a new introduction on using the principles of The Servant in your life and career, this book redefines what it means to be a leader. In this absorbing tale, you watch the timeless principles of servant leadership unfold through the story of John Daily, a businessman whose outwardly successful life is spiraling out of control. He is failing miserably in each of his leadership roles as boss, husband, father, and coach. To get his life back on track, he reluctantly attends a weeklong leadership retreat at a remote Benedictine monastery. To John's surprise, the monk leading the seminar is a former business executive and Wall Street legend. Taking John under his wing, the monk guides him to a realization that is simple yet profound: The true foundation of leadership is not power, but authority, which is built upon relationships, love, service, and sacrifice. Along with John, you will learn that the principles in this book are neither new nor complex. They don't demand special talents; they are simply based on strengthening the bonds of respect, responsibility, and caring with the people around you. The Servant's message can be applied by anyone, anywhere - at home or at work. If you are tired of books that lecture instead of teach; if you are searching for ways to improve your leadership skills; if you want to understand the timeless virtues that lead to lasting and meaningful success, then this book is one you cannot afford to miss. ungekürzt. Language: English. Narrator: Tony Pasqualini. Audio sample: https://samples.audible.de/bk/acx0/086498/bk_acx0_086498_sample.mp3. Digital audiobook in aax.

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  Cast of Characters: Wolcott Gibbs, E. B. White, James Thurber, and the Golden Age of the New Yorker , Hörbuch, Digital, ungekürzt, 809min

  The professional and personal lives of the pioneers of an enduring magazine, The New Yorker. From its birth in 1925 to the early days of the Cold War, The New Yorker slowly but surely took hold as the country's most prestigious, entertaining, and informative general-interest periodical. In Cast of Characters, Thomas Vinciguerra paints a portrait of the magazine's cadre of charming, wisecracking, driven, troubled, and brilliant writers and editors. He introduces us to Wolcott Gibbs, theater critic, all-around wit, and author of an infamous 1936 parody of Time magazine. We meet the demanding and eccentric founding editor, Harold Ross, who would routinely tell his underlings, "I'm firing you because you are not a genius" and who once mailed a pair of his underwear to Walter Winchell, who had accused him of preferring to go bare bottomed under his slacks. Joining the cast are the mercurial, blind James Thurber, a brilliant cartoonist and wildly inventive fabulist; and the enigmatic E. B. White - an incomparable prose stylist and Ross' favorite son - who married The New Yorker's formidable fiction editor, Katharine Angell. Then there is the dashing St. Clair McKelway, who was married five times and claimed to have no fewer than 12 personalities but was nonetheless a superb reporter and managing editor alike. Many of these characters became legends in their own rights, but Vinciguerra also shows how, as a group, The New Yorker's inner circle brought forth a profound transformation in how life was perceived, interpreted, written about, and published in America. Cast of Characters may be the most revealing - and entertaining - book yet about the unique personalities who built what Ross called not a magazine but a "movement". ungekürzt. Language: English. Narrator: Tony Pasqualini. Audio sample: https://samples.audible.de/bk/blak/008177/bk_blak_008177_sample.mp3. Digital audiobook in aax.

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  Keyboard Music of Girolamo Frescobaldi

  Girolamo Frescobaldi (1583-1643) is considered one of the founding fathers of solo Italian keyboard music. By the age of 14, he was somewhat of a child prodigy and was listed in 1597 as organist of the Ferrarese Accademia della Morte as successor to Ercole Pasquini. His teacher was the famous Luzzasco Luzzaschi, then ducal organist and composer under Alfonso II d'Este. By age 25, Frescobaldi embarked on what was to be a lifetime career in Rome when he was appointed organist at St. Peter's Basilica. Thousands of people were reported to have witnessed his first performance. Like many musicians today, Frescobaldi often held several jobs at once: freelancing in Rome and teaching harpsichord and organ to many students, most notably to the family members of Enzo Bentivoglio, the noble household in which he was in service. In 1613, Bentivoglio said "Sr. Girolamo came here, but now he does not come here at all ... The poor man is half crazy as it seems to me." Between 1610-13 Frescobaldi entered into the service of Cardinal Pietro Aldobrandini. Aside from a brief visit back to Mantua, he remained there until his move to Florence (1628-34), where he was employed at the Medici court as one of it's most highly paid musicians. He returned to Rome in 1634 under the patronage of Pope Urban VIII and remained there until his death in 1643. Throughout his life, Frescobaldi enjoyed sophisticated patronage and was praised by well-known musicians and theorists, such as Adriano Banchieri and Marin Mersenne, among others. As a continuo player, he played with the famous castrati Loreto Vittori and Marc Antonio Pasqualini, and he performed in the Lenten services at the Oratorio del Crocifisso. His musical output showed an overwhelmingly large focus on keyboard music. He achieved a reputation not only for his compositional talents but also for his brilliant improvisatory skills, virtuoso playing, contrapuntal mastery, and general inventiveness. Frescobaldi was both influenced by and influential upon the seconda pratica, known chiefly for it's renewal of ancient rhetoric and oratory through music. Composers of this "nuova maniera," such as Claudio Monteverdi, Giulio Caccini, Jacopo Peri, and Sigismondo D'India, advocated the clear delivery of text through the use of declamatory rhythms, expressive dissonances, startling chromatic lines, and shocking contrasts of rhythm and harmony. Frescobaldi's keyboard works exemplify this vocal practice. In particular, we see this type of prosaic freedom in his toccatas. In many ways, they reveal a musical narrative without a text, a kind of instrumental recitative. He compared the performances of these pieces to a modern madrigal, playing "now languidly, now quickly, sustaining it according to feelings and words." Plentiful are the dramatic mood changes, sudden cadential flourishes, and spicy harmonic surprises. From one measure to the next, he shifts from free passagework to more rhythmical, imitative writing. In the foreword to Book I of his Toccata e partite d'intavolatura di cimbalo et organo, published in 1615 and later expanded in 1637, he tells us: "Li cominciamenti delle toccate sieno fatte adagio, et arpeggiando è così nelle ligature o vero durezze, come anche nel mezzo del opera si batteranno insieme, per non lasciar voto l'istromento, il qual battimento ripiglierassi à beneplacito di chi suona." The beginnings of the toccatas should be played adagio and arpeggiated. The same applies to the suspensions [or held chords] or dissonances, which also in the middle of the piece are to be played together in order not to leave the instrument empty [i.e., not to let the sound die away]. Reiterating the notes may be repeated at the player's discretion. The term adasio (adagio) also appears in Frescobaldi's Fiori musicali (1635). The word suggests playing at ease and freely, in a more prose-like manner than in other more metrical sections. As he instructs the performer to be flexible with the tempos within the toccatas, he also advises the player to choose broad tempos for expressive passages and in runs, to play slowly and arpeggiated in the opening chords, and to pause at the ends of trills, runs, or when the mood deems appropriate. When playing sixteenth notes with both hands, he tells us to pause on the preceding note, even if it is a short note, and "then play the passage resolutely in order to show off the agility of the hands." Above all, he remarks that one should use good taste and judgment. More straightforward in form are Frescobaldi's canzonas and capriccios. Although they are somewhat similar in their sectional structure and multiple meter changes, their origins differ. The baroque canzona was an instrumental piece of music derived from the vocal chanson, described by Michael Praetorius in his Syntagma musicum (iii, p.19) as a series of short fugues for approximately four to eight parts (instruments). Many examples of the solo canzona were arrangements of polyphonic vocal works, including elaborated transcriptions of chansons, such as those by Andrea Gabrieli. Tarquinio Merulo was one of the first to write a canzona not based on vocal models but on other ensemble pieces. Vincenzo Pellegrini wrote canzonas for keyboard that were sectional with contrasting speeds and meters, although the sections were not always based on the same material. Ascanio Mayone and Giovanni Maria Trabaci were more influential upon motif-based canzonas, issuing the term "variation canzona." Frescobaldi's canzonas lean towards this variation technique. Capriccios, like the canzona model, are lengthy compositions that are subdivided into contrasting sections, often juxtaposing passages in the fantastical style of the toccata with dance-like rhythms in major keys. From Frescobaldi's own advice preceding the Capricci, we learn that, "One must commence with the beginnings slowly in order to give great spirit and beauty to the following passages, and, in the cadences, sustain them before the next passage begins, in triple and sesquialtera meters, if in a major key, they should be played adagio, and, if in minor, more quickly, if there are three quarter-notes, play them even quicker yet, if there are six quarter-notes, they must be given their time by walking the beat rapidly. At certain dissonances, one should stay there and play the chord as an arpeggio so they will be more spirited than the next passage. I say this modestly, for I place myself before the good judgment of scholars." Certain Capricci make use of popular melodies known throughout Italy, such as Bassa Fiamenga and Spagnoletta. Praetorius called the keyboard capriccio a "phantasia subitanea" ("a sudden whim"). He writes, "One takes a subject but deserts it for another whenever it comes into his mind to do so. One can add, take away, digress, turn, and direct the music as one wishes, but while one is not strictly bound by the rules, one ought not go too much out of the mode." These comments are descriptive of Frescobaldi's toccatas as well. In 1624, Frescobaldi said about his own capricci, "In those passages which do not seem to conform to the rules of counterpoint, the player should seek out the affect and the composer's intentions." Frescobaldi's partitas are essays in the art of variations upon popular ground bass or melodic and harmonic patterns, such as Monicha, Ruggiero, Romanesca, and the Chaconne and Passacaglia. Monicha (also monica or monaca) was a popular Italian song from the early 1600s. The opening line laments a young girl forced to become a nun, hence the minor mode and sad quality of the tune. Frescobaldi composed two sets of variations on this theme: Partite sopra l'Aria di Monicha (6 variations in 1615 and 11 in 1637, including some from the earlier set) and a Messa [to be performed during mass] sopra l'Aria della Monica. The Ruggiero, like the Romanesca, was used for dances, instrumental variations, and for singing Italian poetry, especially those with rhyme schemes in ottav

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