39 Results for : plucks
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Night Hawk Trilogy: Night Hawk Series, Book 0 , Hörbuch, Digital, ungekürzt, 980min
All three books in the Night Hawk Series are now available in one boxed set! Night Hawk (Book 1): Sentenced to death at the hands of a demon, Naomi Hawk slips and falls eighty stories from a precarious ledge, resigning herself to the inevitable impact. Before she can escape her demons in eternal slumber, something sinister plucks her from the plummet, stealing her out of the night to sacrifice her forever to the shadows. Now, Naomi thirsts for justice… and revenge. Tigress (Book 2): Naomi's immortality is nullified, making her vulnerable to the ones who consider her their conquest. If she wasn't already walking over the hot coals of misfortune she would be obsessed with the next ambush. The shadow vaccine is hell in a syringe, the antidote turning Naomi’s blood into a lethal elixir, rendering her toxic to all vampires, including Damian. Trinity Rising (Book 3): Damian’s mortal world begins to shine when fatherhood hits his horizon, but plans for a bright future disintegrate when Lucifer comes to claim their Trinity child, playing dirty by framing Damian for murder. Now, Damian and Naomi are on the run from both Lucifer and the law. One wrong step and they could trigger Armageddon, or worse, the hope for our future could fall into Lucifer's greedy grip. ungekürzt. Language: English. Narrator: Jane Boyer. Audio sample: https://samples.audible.de/bk/acx0/027483/bk_acx0_027483_sample.mp3. Digital audiobook in aax.- Shop: Audible
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Proud , Hörbuch, Digital, ungekürzt, 79min, (USK 18)
A huge three story bundle bursting at the seams with sexy men Featuring "Coming Out 1", "Coming Out 2", and "Coming Out 3" "Coming Out" A curious gay man is desperate to lose his virginity. He answers an advert in the back of a magazine looking for new stars with unique abilities, and heads along to the audition, ready to impress. The resulting explosion of intensity is better than his wildest dreams, as his body is explored in ways he never thought were possible. "Coming Out 2" When his heterosexual relationship can't meet his expanding needs, guitar teacher Tom finds his way to a well-known cottaging spot, desperate for hot gay action. The result is a mind blowing first time experience, set to change Tom's life forever. "Coming Out 3" After hiding his homosexuality from his wife for years, Chris finally plucks up the courage to go searching for his first gay encounter. A special website dedicated to outdoor gay experiences between complete stranger directs him to a little used walking trail in Wales, where he meets a young but experienced hiker, gagging for his manhood. In a cave, hidden from view, in the hands of someone almost half his age, he is finally and spectacularly taken. Unfortunately, I'm not allowed to tell you any more about these stories. You'll just have to listen! ungekürzt. Language: English. Narrator: Richard L Walton. Audio sample: https://samples.audible.de/bk/acx0/099346/bk_acx0_099346_sample.mp3. Digital audiobook in aax.- Shop: Audible
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Mãn , Hörbuch, Digital, ungekürzt, 185min
Following on the Giller Prize-nominated and Governor General's Literary Award-winning success of Ru, Kim Thúy's latest novel is a triumph of poetic beauty and a moving meditation on how love and food are inextricably entwined. Mãn has three mothers: the one who gives birth to her in wartime, the nun who plucks her from a vegetable garden, and her beloved Maman, who becomes a spy to survive. Seeking security for her grown daughter, Maman finds Mãn a husband - a lonely Vietnamese restaurateur who lives in Montreal. Thrown into a new world, Mãn discovers her natural talent as a chef. Gracefully she practices her art, with food as her medium. She creates dishes that are much more than sustenance for the body: they evoke memory and emotion, time and place, and even bring her customers to tears. Mãn is a mystery - her name means "perfect fulfillment", yet she and her husband seem to drift along, respectfully and dutifully. But when she encounters a married chef in Paris, everything changes in the instant of a fleeting touch, and Mãn discovers the all-encompassing obsession and ever-present dangers of a love affair. Full of indelible images of beauty, delicacy and quiet power, Mãn is a novel that begs to be savoured for its language, its sensuousness and its love of life. ungekürzt. Language: English. Narrator: Kim Thúy. Audio sample: https://samples.audible.de/bk/prhc/000573/bk_prhc_000573_sample.mp3. Digital audiobook in aax.- Shop: Audible
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The Stray Sod Country , Hörbuch, Digital, ungekürzt, 547min
It is 1958, and as Laika, the Sputnik dog, is launched into space, Golly Murray, the Cullymore barber's wife, finds herself oddly obsessing about the canine cosmonaut. Meanwhile, Fonsey "Teddy" O'Neill is returning, like the prodigal son, from overseas, with Brylcreem in his hair and a Cuban-heeled swagger to his step, having experienced his coming-of-age in Skegness, England. Father Augustus Hand is working on a bold new theatrical production for Easter, which he, for one, knows will put Cullymore on the map. And, as the Manchester United football team prepares to take off from Munich airport, James A. Reilly sits in his hovel by the lake outside town, with his pet fox and his father's gun, feeling the weight of an insidious and inscrutable presence pressing down upon him. As these imperiled characters wrestle with their identities, a mysteriously powerful narrator plucks, gently, at the strings of their fates, and watches the twitching response. This novel is a devil's-eye view of a lost era, a sojourn to the dark side of our past, one we may not have come back from. With echoes of Peyton Place and Fellini's Amarcord, and with a sinister narrator at its heart, this is at once a story of a small town - with its secrets, fears, friendships, and betrayals - and a sweeping, theatrical extravagance from one of the finest writers of his generation. ungekürzt. Language: English. Narrator: Gerard Doyle. Audio sample: https://samples.audible.de/bk/adbl/009724/bk_adbl_009724_sample.mp3. Digital audiobook in aax.- Shop: Audible
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Glory
NAMED A MOST ANTICIPATED BOOK OF 2022 BY VULTURE, BUZZFEED, AND OPRAH DAILY "Manifoldly clever…brilliant… 'Glory' is its own vivid world, drawn from its own folklore. This is a satire with sharper teeth, angrier, and also very, very funny." -Violet Kupersmith, The New York Times Book Review "Genius."-#1 New York Times bestselling author Jason Reynolds From the award-winning author of the Booker-prize finalist We Need New Names, an exhilarating novel about the fall of an oppressive regime, and the chaos and opportunity that rise in its wake. NoViolet Bulawayo's bold new novel follows the fall of the Old Horse, the long-serving leader of a fictional country, and the drama that follows for a rumbustious nation of animals on the path to true liberation. Inspired by the unexpected fall by coup in November 2017 of Robert G. Mugabe, Zimbabwe's president of nearly four decades, Glory shows a country's imploding, narrated by a chorus of animal voices that unveil the ruthlessness required to uphold the illusion of absolute power and the imagination and bulletproof optimism to overthrow it completely. By immersing readers in the daily lives of a population in upheaval, Bulawayo reveals the dazzling life force and irresistible wit that lie barely concealed beneath the surface of seemingly bleak circumstances. And at the center of this tumult is Destiny, a young goat who returns to Jidada to bear witness to revolution-and to recount the unofficial history and the potential legacy of the females who have quietly pulled the strings here. The animal kingdom-its connection to our primal responses and its resonance in the mythology, folktales, and fairy tales that define cultures the world over-unmasks the surreality of contemporary global politics to help us understand our world more clearly, even as Bulawayo plucks us right out of it. Although Zimbabwe is the immediate inspiration for this thrilling story, Glory was written in a time of global clamor, with resistance movements across the world challenging different forms of oppression. Thus it often feels like Bulawayo captures several places in one blockbuster allegory, crystallizing a turning point in history with the texture and nuance that only the greatest fiction can.- Shop: buecher
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Dancing on the Grave of a Son of a Bitch (eBook, ePUB)
The liberating power of anger has rarely felt so good and healing as in this complete collection of a landmark in feminist poetry. "She digs her teeth into the slaveries of woman, she cries them aloud with such fulminating energy that the chains begin to melt of themselves. Reaching into the hive of her angers, she plucks out images of fear and delight that are transparent yet loaded with the darknesses of life. Diane Wakoski is an important and moving poet.”—The New York Times In 1971, Diane Wakoski published The Motorcycle Betrayal Poems to tremendous acclaim. In the decades that followed, she wrote additional "betrayal” poems, which are now collected here in one volume for the first time. Relevant, moving—at times shocking—it is Wakoski's honesty and bravery as an artist that continues to astonish, delight, inspire, and liberate readers. Wakoski responds to betrayal in a variety of ways including fantasies such as drilling bullet holes into the bodies of unfaithful lovers. But even her anger can be winking, as in the book's sly dedication to "all those men who betrayed me at one time or another, in hopes they will fall off their motorcycles and break their necks.” There is joy here because it is self-knowledge that the writer seeks, as in the collection's title poem: So some white wolves and I will sing on your grave, old man and dance for the joy of your death. "Is this an angry statement?” "No, it is a statement of joy.” "Will the sun shine again?” "Yes, yes, yes,” because I'm going to dance dance dance Diane Wakoski's art as a confessional, storytelling poet has rarely been equaled. Her revelations become shared emotional truth with readers. The collection's new introduction by poet and Green Mountains Review editor Elizabeth A. I. Powell gives context to the long wake of Wakoski's inspiring influence on generations of readers. Dancing on the Grave of a Son of a Bitch is for anyone who ever lost a love and wishes to embrace the freedom, rather than the pain, it can bring.- Shop: buecher
- Price: 7.99 EUR excl. shipping
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Dead Weight
January, 2011, marks the release of Jon Hughes's third album in almost as many years. 'Dead Weight' is an album that focusses on the theme of murder in conjunction with the theme of information, particularly the changing ways in which people interface with old and modern sources of information, and the possible consequences of these changes. Like his previous album, 'Voices From a Broken Window', Hughes employs many of his production quirks, which have become a signature of his style (a few isolated plucks here, a paradoxically contemplative whistle there). However, 'Dead Weight' shows a departure from the protracted, often raucous productions that made up his previous release, favouring warm string sounds and spare compositions. Hughes has played live both in Ireland and the US, with notable performances such as sharing a stage with Damien Jurado, She Keeps Bees, and the legendary singer-songwriter, Buddy Mondlock. For bookings or more information please contact jon[at]jonhughes.org.- Shop: odax
- Price: 21.58 EUR excl. shipping
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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- Shop: odax
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Chasing Light
Mark Knippel: Marenje* The following note is provided by the composer: "Marenje is a traditional welcoming song of the Shona people of Zimbabwe. My composition is based solely on the opening material of the original song. The entrances of the first two guitars are exactly what would be played on the mbira [traditional African instrument consisting of a wooden soundboard with 22 to 28 metal keys] and marimba. One of the techniques of Shona music that I employed is having the same material played on two instruments offset by one eighth note. This idea permeates my composition, as it is one of the ideas of their music that I found especially striking." Marenje, begins as a whispering, euphoric murmur, as if you are walking into a bustling street market, taking in the sights, smells, and sounds. A minute into the piece, all four guitars crescendo into a fully-blossomed, gently-jiving, jovial sonic soundscape that grows in intensity, and culminates in a quasi-percussive, exuberant, upper register ostinato played by one guitar, fluttering over the other three like a liberated bird-of-paradise. Garry Eister: Chasing Light* Garry Eister writes the following note for Chasing Light: "Chasing Light uses a grab bag of techniques, including irregular meters, meant to evoke the rhythmic feel of Eastern European dances. The outer movements are in E minor. The middle movement is in E-flat minor, which, by it's 'sinking down' a half step below the movements that surround it, helps impart the feeling of isolation and stillness that it's title indicates. The final movement is meant to convey a sense of urgency, of running or driving as fast as possible toward the Western horizon in an attempt to delay the setting of the Sun." Throughout Chasing Light, a sense of combative harmony pervades. Each guitar is autonomous, yet interconnected with the others. Through coherent use of imitation, unison, accent, textural variation, and overlapping melodic lines, Eister creates a robust quartet in which each guitar is of equal importance, fighting and playing with one another in an ecstatic cloud of sound. Mark Knippel: Attained Elusiveness* Unlike Marenje, Attained Elusiveness possesses none of the effervescent giddiness that permeates the former. Instead, it features Steve Reich-like transient sonic fractals that flash and evaporate as snowflakes on a windowpane, elusive, yet, for a fleeting moment, attained. Darin Au: Chasing Dragons The most straightforward composition on the album, Chasing Dragons soars in a self-assured, flowing arc. There may be dragons, but they are observed in transit, as if from a hangglider. Punctuated by raspy rasgueados, spiky accents, and icy harmonics, an ominous nether world is hinted at, yet never entered. A great distance is traveled over a brief period of time. Christopher Gainey: Flowing Through: Rhapsody on a theme of Egberto Gismonti* Christopher Gainey shares the following note: "I have always loved [Brazilian composer Egberto Gismonti's] Agua e Vinho, and I was fascinated by how different performers used it as the basis for very individual embellishment/improvisation. In essence, Flowing Through is a set of variations on Agua e Vinho, with one exception, when the theme comes in at the end of the piece, it is placed together with material from the first variation that reconfigures the original theme into a ternary form (Agua e Vinho forming the 'A' section, while it's variation forms a 'B' theme). The notation fluctuates between precisely notated music and much more flexible, somewhat indeterminate, methods of notation that allow the ensemble some interpretive freedom." Karol Szymanowski: Mazurkas, Op. 50, Nos. 1 and 3 Arranging solo piano works for guitar quartet is, at first glance, counterintuitive. The luminescent sonority of the piano is markedly different than the brighter sound of the classical guitar. However, the two mazurkas that guitarist Patrick O'Connell selected and arranged transfer strikingly well to four guitars. The hushed dynamics (rarely exceeding mezzo-piano), combined with rich, colorful modal layering, allow opportunity for the guitars to explore hues and colors beyond the scope of the original piano. Through the use of idiomatic guitar techniques, such as artificial harmonics, and through exploitation of the guitar's broad timbral palette, new insight into Szymanowski's music is gained. Andrew York: Pacific Coast Highway Like Lotus Eaters, Andrew York's Pacific Coast Highway is melody-centered and harmonically stable. A self-confident first guitar both plays with and battles against the remaining guitar "trio." The first half of the piece is placid, daydreamy, the second half intense, excited. Evocative of the seemingly infinite Californian Pacific Coast Highway, the musical terrain is ever-changing, winding, rocking, and rolling. Andrew York: Lotus Eaters Andrew York's Lotus Eaters was written for the Los Angeles Guitar Quartet (LAGQ), and possesses the carefree charm of a late summer backyard barbecue. Through harmonic, melodic, and rhythmic constriction, it gains a spatial freedom, with evocations of Wes Montgomery, Ali Farka Touré, and Al Di Meola flickering like fireflies throughout the piece. As an added bonus, SFGQ has added two minutes of infectious improvisation to the original. Clarice Assad: Bluezilian Clarice Assad describes Bluezilian as follows: "I wrote Bluezilian for LAGQ, in 2005, as an encore piece. At the time, I had just broken a foot and was unable to walk or get out much. Feeling a bit down and constrained, I decided to work on a piece that would be light and fun, almost cartoonish-something that, in certain spots, would make me want to giggle. I purposely made the decision to use and abuse musical clichés. The piece is a musical satire that draws connections between American popular styles and Brazilian rhythmic and harmonic sensibilities. All parts, as simple as they may be, are filled with nuances to be explored, and the parts themselves communicate between one another." Bluezilian is a highly-caffeinated, animated whirlwind trip: accents kick, glissandi jolt, trills zap, and chords smack. It sounds as if a cartoon volcano was erupting in a harmonic kaleidoscope of plucks and strums. But it also sings and dances, swells and spins. Rarely has a such a short piece contained so much exuberant energy. Liner notes by Patrick Durek * Premiere recording and dedication to the San Francisco Guitar Quartet.- Shop: odax
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