Pained

The Chosen (eBook, ePUB)

'Does art enhance life, or negate it? The painful question runs through Lowry's portrait of Thomas Hardy, and produces a sombre, delicate novel, finely judged and full of insight' Hilary MantelOne Wednesday morning in November 1912 the ageing Thomas Hardy, entombed by paper and books and increasingly estranged from his wife Emma, finds her dying in her bedroom. Between his speaking to her and taking her in his arms, she has gone.The day before, he and Emma had exchanged bitter words - leading Hardy to wonder whether all husbands and wives end up as enemies to each other. His family and Florence Dugdale, the much younger woman with whom he has been in a relationship, assume that he will be happy and relieved to be set free. But he is left shattered by the loss.Hardy's bewilderment only increases when, sorting through Emma's effects, he comes across a set of diaries that she had secretly kept about their life together, ominously titled 'What I Think of My Husband'. He discovers what Emma had truly felt - that he had been cold, remote and incapable of ordinary human affection, and had kept her childless, a virtual prisoner for forty years. Why did they ever marry?He is consumed by something worse than grief: a chaos in which all his certainties have been obliterated. He has to re-evaluate himself, and reimagine his unhappy wife as she was when they first met.Hardy's pained reflections on the choices he has made, and must now make, form a unique combination of love story and ghost story, by turns tender, surprising, comic and true. The Chosen - the extraordinary new novel by Elizabeth Lowry - hauntingly searches the unknowable spaces between man and wife; memory and regret; life and art.

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Through the Pained-Glass Window of Twitter

Through the Pained-Glass Window of Twitter: ab 8.45 €

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Pained - Uncomfortable Conversations about the Public's Health: ab 23.49 €

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The Truth

Re-Issue der ultararen 1972er Privatpressung (99 Kopien damals). Hookers Arrangements sind zeitlos schön, es sind swinging Pop Songs, irgendwo zwischen The Doors und Curtis Mayfield, wie eine George Harrison Ballade mit Neil Youngs Gitarren-Jams. It's a miracle any copies of this privately pressed album survived - but be thankful it did, for here is an individual vision. Some people worry about when we'll run out of oil. There is just no way in the world items likeDonald Hooker's 40-year-old privately pressed LP should even exist as a thing - it more than likely only ran to about 99 copies in its original format, so how the hell did even one of those survive to create these new digital and analogue versions decades later? In early 1972 he hired a gang of local scene musicians to flesh out his wonderful songs and after a few brief rehearsals the band began recording. Hooker's arrangements are truly beautiful, a simple, swinging pop song like Weather Girl exists somewhere between The Doors and Curtis Mayfield, whereas The Bible ("If they're knocking the Bible, be sure they are bent/ Just see and you'll understand the book is heaven sent") has the propulsive drive of a pained George Harrison ballad crushed up against some of Neil Young's freeform, string-banging joy. Hooker's masterpiece is Forge Your Own Chains, which is part conga-led, lounge-funk soul and part, questing psychedelic dream.

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Swell Burst & Dye

John Danyel published his only book of songs (cunningly entitled Songs) in 1606. He entered Royal service in 1612, where he worked hand in hand with his brother - the poet Samuel Danyel. Many of John Danyel's lute songs were composed to texts written by his brother, although the authorship of certain poems is unclear. Upon Samuel's death, John published The Whole Works of Samuel Danyel. Danyel's most frequently performed piece, Like as the Lute Delights notes and demonstrates the careful interplay between lute and voice that is required for the intricate lute songs of this era. His three-part song cycle Griefe Keepe Within is dedicated for the funeral of the husband of "Mrs. M. E.", exact identity unknown. The text of this song speaks of the uselessness of tears, as they serve just as easily for happiness as for sadness. Tyme, Cruell Tyme is an admonition of Time itself, which seems to be conquered by a beautiful woman. Always fascinated by the techniques and devices used in composition, his three-part Can Dolefull Notes asks and attempts to answer questions about which musical approach should be executed for specific emotions. In late 1625, after attending the funeral of King James I/VI and becoming part of the "houshold of or now dread Sovereghne Lord King Charles,' John Danyel died. Aside from being the best known composer for lute and voice, John Dowland is now believed to have been involved in espionage for Queen Anne of Denmark and for Sir Robert Cecil. This post was likely achieved through his conversion to Catholicism. There is research being conducted into the possible double-entendres of some of his poetry that was sent from court to court. It is not unlikely that he wore lots of black clothing and carried a metallic briefcase full of scores. Some of Dowland's texts were his own, while some were of unknown authorship and used by multiple composers. What if I Never Speed is a song of unrequited love that warns the beloved that the singer has choices and is willing to move on. As usual, though, the smitten remains smitten at the end. I Saw My Ladye Weepe is one of Dowland's most famous lute song. It describes in great detail the countenance of a woman in deep sorrow. Dowland and various members of his family transcribed known lute solos and songs into what is now known as the Dowland Folger Manuscript, held at the Folger Shakespeare Library. Most of these pieces are anonymous and were likely used as a teaching tool for lute students. Renowned for deeply depressing pieces, Dowland (pronounces doe-lind) wrote his lute solo Semper Dowland Semper Dolens (Always Dowland Always Pained) in 1600. He died in 1626, just a few short months after the death of John Danyel. The organist Thomas Tomkins later dedicated a madrigal to Dowland and Danyel, linking the two composers for posterity. Francis Cutting was a well-respected lute player, composer and arranger about whom very little is known. Most of his compositions remain in manuscript form and were not published in his lifetime. Doctor, lawyer, poet and musician Thomas Campion had a way with words. He composed a large collection of airs and masques, almost all of which were set to his own poetry. Campion was known for his story-telling songs, which contrasted the emotive techniques used by Danyel and Dowland. However, he also occasionally published an impassioned melody. A perfect depiction of adolescent angst, See Where She Flies illustrates a young woman whose temper flares, and yet her allure is still great. When the God of Merrie Love is a strange cautionary tale of a nurse who chides the God of Love. Although it begins pleasantly enough, the nurse does not fare well through the short tale. Another piece that weaves a story is When Thou must Home to Shades of Underground, where the story-teller turns out to be hiding something from the listener until the very end. The Sypres Curtaine of the Night is an atmospheric song which paints the darkness, after which the ghosts and goblins all come out. It relates a fear of the unknown and of death, which Thomas Campion himself may have felt when he was accused of (and later acquitted of) the murder of Sir Thomas Overbury. Campion died of plague in 1620, when health-care workers and physicians had no access to vaccines, and there were not even queues to complain about in Public Health offices. A Note on Programming This programme is meant to take the audience through the rise and fall of a life. It begins with the pleasant sounds of music, song and morning. It works through pubescent drama toward the resignation of adulthood and the sometime despondency of middle age. The programme closes with the acquiescence to death or sleep. Thus, it Swells, Bursts and Dyes. A Note on Spelling The poetry being presented in this programme was written before the advent of English standardised spelling. There were manye attempts at correcting this confusion made betweene 1568 and 1634 by severall renowned orthographers. Nonn of these proposalls waz giv'n due consideration as writers and ye litterate folkes of the tyme had becom accostom'd to ye varrious spellinges of eech wird. Composers e'en spelt theyr oun names inconsistentlie from one dockument to the nexte. The Symplifyed Spelinge Bord was created in the Unit'd States in 1906, at wich pointe Andrew Carnegie and manye of his litterarie colleegues beganne to putt in playce the words we alle nou knou to bee accept'd Inglishe. Keepe reedinge ye poemes - thou gets used to it. -GMcL.

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Why Not You?

Deborah showed her love for music at the age of 8 when she started piano classes. As a teenager she took vocal lessons and at the age 18 began singing at private clubs in Curitiba, Brazil (where she was born). Hearing her for a first time was a revelation, and hearing her again...a lifelong passion. Such is the voice of Deborah. She has the remarkable ability to convey more emotion in a single phrase, sometimes in a single pained sigh or high-spirited yelp than many artist can an entire song. Musicians and composers by the time Deborah started, recognized her ability to change her voice song to song and also her complete command on her body and soul. Deborah is a greater interpreter of Brazilian music from romantic to samba and bossa nova, even though she studied 4 years in a completely different vocal arena, opera, at Rio de Janeiro Municipal Theater School. She also sings classics in Spanish, Italian, French, Portuguese, Fados, and English. Her magic is her range. She grasps the very depths of meaning from a ballad sustaining an almost unbearable aching tension, and then suddenly takes flight into an upper register to express the infinite solitude of which she is capable. Songs of palpable as told through "He Is Out of Our Lives" the song she penned in memory of Michael Jackson after he parted. The personal obstacles she faced through the time of recording her album were called the attention of the producer and musicians, but Deborah usually triumphs over her tribulations. When she started to record "He Is Out Of Our Lives" she spent hours in the studio and days trying to sing without crying. She eventually recorded, but the cry that you hear is real and the production let her go anyway. Deborah Di Maski met Michael Jackson in 1978 when he was recording "Of The Wall" in Hollywood. She told stories of Brazil to Michael about favellas (the poor life in the hills) and about samba schools, lifestyle, Brazilian women and places she used to live, Copacabana, near Ipanema. Little moments they spent together they lived like two kids, telling each other with recognizable songs. Because of her limited English at that time most of her stories were described about the singing of recognized Brazilian songs. Michael also sung to Deborah...always encouraging her with appropriate song to fit the moment. Deborah found in Michael Jackson her twin soul, artist, creative, eccentric and a lover for the audience. Both she and Michael also endured a very stern father. Though Deborah's father would always try to prohibit her singing career she found parallels in the way Michael's father treated him. " We shared our life of pain" singing to each other, walking in the streets looking for someone to talk, to understand our lovely or complicated passion for music and our lifestyle...", recalls Deborah. In 1987 Michael acted as "Scarecrow" in the "Wiz" and in 2007 Deborah acts as "Glenda" in the "Wizard of Oz". Now with the Michael gone, without understand why so soon, she wrote "He Is Out Of Our Lives" offering this song to anyone in the world who love and admire Michael for his generous heart and beautiful soul. A great Brazilian music interpreter from romantic to samba and bossa nova, Deborah's magic is in her scene. She grasps the very depths of meaning from a ballad sustaining an almost unbearable aching tension, and then suddenly takes flight into a upper register to express the infinite solitude of which she is capable. Songs of a palpable sorrow as told like "He is Out Of Our Lives" the song she penned in memory of Michael Jackson after he parted.?A beautiful and very inspiring CD.

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Show Me the Way

"This project is something I have promised myself I would do at some stage in my career. I love the old hymns- the songs themselves and the memories that I have singing them from the pews of many different churches. The faces of the people singing with you change but the songs remain." Abe Lamberts- "Why would two guys in there 20's record a CD of hymns these days?" That is a question I was asked when I first posed the idea behind this CD to a musician and friend of mine. It is a good question. These days hymns are all but forgotten and are used with words such as "traditional" that always seem to come with a pained expression. Hymns are as alive and relevant today as the day they were written. If we capture nothing else in this album we want to capture the emotion of the writers the day they finished writing these songs. From the emotion of "Amazing Grace" to the spoken humility of "Just As I Am". Listen to the words even if you know them by heart. Think about them, and discover how relevant a century old song can be. Show Me The Way is a raw, stripped down version of 14 of good old hymns and 3 originals written by Abe Lamberts. If you are looking for an amazing production of choirs and many instruments you won't find that here. If you are looking for a CD that is raw, honest and let's the words of the songs speak to the heart. Then this is a CD for you. Abe Lamberts and Dave Olson provide an atmosphere perfect for the reflection these songs inspire. This CD is about reflection looking back at the "Church Hymns and Memories". The faces in the pews change. But the hymns remain.

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