6 Results for : starkness

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    Visions of the spiritual world, Hörbuch, Digital, 85min
    Visions of the spiritual world: A Brief Description of the Spiritual Realm, Its Different States of Existence, and the Destiny of Good and Evil Men as Seen in Visions.Sundar Singh was known in his lifetime as India's most famous convert to Christianity. His twenty-three years pilgrimage as a sadhu - a wandering, penniless pilgrim - had led him across more than twenty countries on four continents. He had profoundly influenced tens of thousands of people. He never accepted the religion as such but he instead emphasized the life-changing starkness of Christ's original teachings. Language: English. Narrator: Chiquito Joaquim Crasto. Audio sample: https://samples.audible.de/bk/fved/000578/bk_fved_000578_sample.mp3. Digital audiobook in aax.
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    The New York Trilogy
    The New York Trilogy is an astonishing and original book: three cleverly interconnected novels that exploit the elements of standard detective fiction and achieve a new genre that is all the more gripping for its starkness. In each story the search for clues leads to remarkable coincidences in the universe as the simple act of trailing a man ultimately becomes a startling investigation of what it means to be human. Auster's book is modern fiction at its finest: bold, arresting and unputdownable. It was a wrong number that started it, the telephone ringing three times in the dead of night, and the voice on the other end asking for someone he was not... In three brilliant variations on the classic detective story, Paul Auster makes the well-traversed terrain of New York City his own, as it becomes a strange, compelling landscape in which identities merge or fade and questions serve only to further obscure the truth.
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    Above the Fray, Hörbuch, Digital, 51min, (USK 18)
    Paul Conyers is a tall drink of funny. He proves it time and time again in his debut album Above the Fray. At his core, Conyers is an incisive, charismatic everyman. He has an easy-going wit and casual gall. His insightful social commentary, his reach and range, is impressive. His laid back - often daring - style, is dynamic and exciting. Above the Fray is well-crafted and self-aggrandizing, audaciously charming with dry, false bravado. Conyers elevates while remaining down to earth. Above the Fray is head and shoulders above the norm. "Punching down", joking at a marginalized group's expense, is hard to pull off. But it's hard not to punch down when you're 6'7" like Paul Conyers. Conyers's primary target: short people. And, by Conyers's definition, that's anyone under "NBA player height." If you're shorter than LeBron James, prepare to get dunked on. Paul Conyers needles anyone average-sized shorter than him, which is basically everyone, and does so with a blustering starkness unseen since Randy Newman. But don't worry. It's all in good fun. Above the Fray is highly entertaining, regardless of your stature. This puts Conyers at odds with Napoleon-complex catfishers, obnoxious strangers with basketball career advice, and any number of people that embody the undercurrent of nonsense height influences. The ways being tall (or short) matters, especially regarding assumptions and hypocrisies, border on absurdity. It's a mess, a fight, ripe fodder for hilarity. And Paul Conyers isn't afraid to throw playful jabs. While crossing every line imaginable, fearlessly sarcastic about every group and subject, Paul Conyers maintains an incredible level of balance. He's confident, not cocky. He's bombastic, not smug. He's cool but self aware. He's smart but not alienating. His jokes - boastful, brilliant and boundless - present a level playing field. Height doesn't matter when you're on stage or laughing in the audience. An Language: English. Narrator: Paul Conyers. Audio sample: https://samples.audible.de/pf/roar/000698/pf_roar_000698_sample.mp3. Digital audiobook in aax.
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    My City of Dreams , Hörbuch, Digital, ungekürzt, 569min
    In this carefully researched and hauntingly written memoir, Lisa Gruenberg not only records her own life, but also that of relatives long lost to darkness, terror, and murder. In dreamlike sequences she weaves known facts of the lives of those lost into tableaus of imagined family dinners, conversations, and leisure activities set in the Vienna landscape. She especially brings back to life some of the girls and women whose fates remain largely unknown. Indeed, she embodies her aunt Mia as she walks in her shoes, sees with her eyes, and speaks with her voice.These flights into the past are presented within the framework of Gruenberg's own family, her husband and daughters, and her father. He escaped from Vienna in 1939 and shared few of his memories with her, and that only late in life when disease had beaten down his defenses against remembering.The trauma and feeling of guilt often described in Holocaust survivors is reflected in this memoir, also the burden shared by so many of their children and grandchildren. At the same time, this tale is one of lightness and finding balance in all these difficulties and trials. There is an endless network of cousins and friends of cousins, one more colorful than the next. They are spread all over the world and Gruenberg seeks many of them out in her search for the past.At the center stands author's ability to look at the truth unflinchingly, including truths apparent in herself. She shares her insights in all their nakedness, starkness and, yes, hilarity. This, together with the author's luminous prose, make My City of Dreams an important landmark in 21st century testimony of the Holocaust.PLEASE NOTE: When you purchase this title, the accompanying PDF will be available in your Audible Library along with the audio. ungekürzt. Language: English. Narrator: Lisa Gruenberg. Audio sample: https://samples.audible.de/bk/acx0/231589/bk_acx0_231589_sample.mp3. Digital audiobook in aax.
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    Small Craft (eBook, ePUB)
    Janet Edmonds lives and writes on Cape Cod near Barnstable's salt marshes and harbor. Her work is infused with a strong sense of place and time - and plenty of sea salt. The poems in Small Craft immerse themselves in the glittering, turbulent waters of Cape Cod to see what can be salvaged and salvage what can be seen. Using sound-rich diction, Janet Edmonds describes the lowliest razor clam and the brightest constellations in the night sky combining presence and absence, light and dark, the knowable and the mysterious nature of things. She combines presence and absence, light and dark, the knowable and the mysterious nature of things. -Jennifer Barber author of The Sliding Boat Our Bodies Made, founding editor of Salamander Magazine Janet Edmonds' Small Craft is big in beauty, power, eloquence, and wit. This is a volume every lover of Cape Cod will want to add to their library. In fact, anyone who enjoys the ocean will appreciate what is on offer here. Edmonds gives us poetry to be savored along with a good cup of tea by a crackling fire, or even read aloud to a friend while sitting on a windswept beach on a summer's day. I believe my soul could live for a week on a line like: "Seagulls' wingbeats whisper upward". -Will Vaus author of The Hidden Story of Narnia With graceful rhythms and striking imagery, Janet Edmonds illuminates a fresh perspective on Cape Cod's beauty, exuberance, occasional starkness, and gentle melancholy. If you love the beach, the stars, and nature, you will enjoy this collection of poems. -Mary E. McDermott author of Old Orleans: Memories of a Cape Cod Town
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    Forever Sunset
    FOREVER SUNSET - JADCD 1116 An anthology of works by Australian composers in a wide range of styles and musical groupings ranging from mandolin & strings, tenor recorder & piano, voice with flute & piano, through mandolin ensemble, solo piano works and works for brass ensemble and duos for trumpet & piano. ROBERT ALLWORTH (b.1943) Track 1. FOREVER SUNSET (2004) for Mandolin-Violin-Viola and 'Cello FOREVER SUNSET takes ideas from the poem of the Lotus Eaters by Lord Alfred Tennyson. The music is full of colouristic effects and is an evocative portrayal of a Sunset. IAN SHANAHAN (b.1962) Track 2 HARMONIA (in PP) (2001) for Tenor Recorder and Piano harmonia [Greek] = 'a fitting together' = compositio[nis] [Latin] = 'a musical composition' (i.e. a harmonious, well-structured assemblage of sounds/silences), and - of course - 'harmony' = a homophony = chorale, recitative, ..., pp [Italian abbreviation for 'very quiet'] = Peter Platt = the Perfect Professor. To 'Prof ... a Persistence of (Pneuma [Greek]) = 'wind' and 'spirit': "Funereal yet serene - a dignified mourning" (of surprising starkness and textural simplicity), for one who Plucks Psalteries in Pleromatic Paradise... Lest We Forget. Harmonia (in PP), written in memory of Professor Peter Platt, employs none of my typically abstract, complex paracompositional schemata: rather, I approached this concise piece much more humbly - in a way that I imagine 'Prof himself might have quietly begun to sketch out one of his own modest works. BETTY BEATH (b.1942) Tracks 3 and 4 MEETING IN THE ROAD and THE SHE WOLF Meeting in the Road and The She-wolf are the 3rd and 4th songs from the cycle for voice, flute and piano titled POINTS IN A JOURNEY. This cycle of five songs was commissioned by North Adams State College, Massachusetts. The First Performance took place during the period of my residency at the College on the 7th October, 1987. Meeting in the Road, the setting of a text by an anonymous Chinese poet of the 1st Century BC touches on a universal theme...the brief meeting which somehow touches us in a way we shall always recall. In writing from a distance of 2,000 years he describes the place where he lived as 'easy enough to find, easy to find and difficult to forget'. In a narrow road where there was not room to pass My carriage met the carriage of a young man. And while his axle was touching my axle in the narrow road, I asked him where he lived. The place where I live is easy enough to find, Easy to find and difficult to forget. The gates of my house are built of yellow gold, The hall of my house is paved with wihte jade, On the hall table flagons of wine are set, I have summoned to serve me dancers from Han-tan. In the midst of the courtyard grows a cassia tree, And candles on it's branches flaring away in the night. The She-wolf, with words by the Queensland poet, Jena Woodhouse, describes her passionate relationship with her mother. My mother gave me tempest strife and storm, Flickerings of wisdom lit from within by fires of ancient lore And left the imprint of her Celtic soul A sense of something dangerous and passionate It was she who snarled defiance at the poverty that menaced her And hurled her gypsy curses in the teeth of bitter need, And held her head still higher before strangers And damned the world for misery and greed, It was she who took in homeless dogs to feed and care for, And sad old men who drank too much and died And she who'd weep her grief at each bereavement, The nightmare visions crowding in her eyes, And chide her children for their trespasses, And toil until she dropped to give them bread, And then in feral rage devour them, And bundle them to bed with growls and muttered benedictions, And watch them grow with pride That flashed like lightning in her tawny gaze, And give them heart to sing And pit their strength against the storm. ERIC GROSS (b.1926) Tracks 5 and 6 KLAVIERSTÜCK 1V op.225 (1998) and PLAYFUL SALLY op.300 (2006) "KLAVIERSTÜCK IV", one of a series of five Klavierstücke, is subtitled "quasi un' improvvisazione" and is meant to convey, within a formal structure, liberal amounts of contrasting tempi, dynamics, phrasing and moods, such as would be found in an improvisation. It is also intended to give the performer the opportunity to contribute creatively to the realization of the music in a free and unrestricted manner. After the opening statements, which alternate emphatic and cantabile phrases, a gentle section gives way to semiquaver phrases which increase in volume and speed and lead to several climaxes. These semiquaver phrases appear in various inversions and guises, eventually leading back into a gentler melodic section, previously heard soon after the beginning. A cadenza builds up to a strong climax after which the work is brought to it's close with a succession of pianistic statements.'Klavierstück IV' was originally written for Katarina Kroslakova as a gesture of thanks for participating in an earlier recording of a composition of mine for mandolin and piano. "PLAYFUL SALLY" is dedicated to it's performer Sally Mays because of her strong and generous support of Australian composers. This composition is a lighthearted tribute to her outstanding musicianship and technical excellence. After commencing mischievously in the style of a two-part invention, the piece playfully employs cross-rhythms and unexpected harmonic aberrations to mislead performers and listeners alike. EG. ANN CARR-BOYD (b.1938) Track 7 FOXTROT (1993) FOXTROT was commissioned by Adrian Hooper, Director of the Sydney Mandolins, to be performed by his ensemble. The music is another dance form piece and is meant as a companion piece to Fandango, one of Ann Carr-Boyd's most popular compositions, which was also written for the Sydney Mandolins. ERIC GROSS Track 8 HABAÑERA-SERENADE op.31/4 (1960-2007) This composition, originally for Violin and Piano, was written as a study in an 'Habañera' style of composition and has also been transcribed for Piano alone. This version for Soprano Saxophone and Piano was arranged in 2007 especially for the two performers on this recording, Berndt Klinke (Soprano Saxophone) and Idil Ugur ( Piano) for a performance in Germany. The music relies on it's obvious melodic appeal based on it's ternary form and it's minor-to-major key- transformation. EG. DEREK STRAHAN (b.1935) Track 9 SEISMIC MURMURS for Solo Piano (1992) - Derek Strahan - piano This is the closing section from Pt. 1 of Atlantis Variations for Solo Piano, one of several works written to develop material for inclusion in a proposed cycle of 4 operas suggested by Plato's account of the rise and fall of Atlantis. A 3-note whole tone figure heard as a bass rumble at the outset and continuing, represents the trident of the Greek sea god Poseidon, by which he controlled the movement of wind and tides. The motif for Poseidon is immediately heard over it followed by a more elegiac theme for his consort as ruler of Atlantis, the native woman Cleito. A monumental theme for their son Atlas follows. Atlantis and the Atlantic Ocean are named after him. The responsibility of rule over his expanding empire is figuratively implied in the image of Atlas bearing the world on his shoulders. These and other motifs form the basis for passages signifying the seismic instability of the area in the Atlantic known as Dolphin's Ridge where Atlantis is placed by some writers. Heraldic fanfares depicting the Golden Age of Atlantis conclude this section. D.W.S. Recording, New Music Theatre, 8/7/2002. The complete work "Atlantis Variations" can be heard on the Revolve CD of that title RDS009. DANIEL WILLIAMS (b.1935) Tracks 10 and 11 DEO GRATIAS (2007) and FANFARE FOR HORROCKS (2007) Fanfare for Horrocks and Deo Gratias were written in 2007 by trumpeter and composer, Daniel Williams. Williams took on the position of Head of Bands at the The King's School in 2006, and it was there these compositions emerged. Deo Gratias was commissi
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