47 Results for : modestly
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The Witness for the Dead (eBook, ePUB)
"At once intimate and literally operatic, it's everything I love about Katherine Addison's writing, in ways I didn't know to expect. I loved it." -John Scalzi Katherine Addison returns to the glittering world she created for her beloved novel, The Goblin Emperor, in this stand-alone sequelWhen the young half-goblin emperor Maia sought to learn who had set the bombs that killed his father and half-brothers, he turned to an obscure resident of his father's Court, a Prelate of Ulis and a Witness for the Dead. Thara Celehar found the truth, though it did him no good to discover it. He lost his place as a retainer of his cousin the former Empress, and made far too many enemies among the many factions vying for power in the new Court. The favor of the Emperor is a dangerous coin. Now Celehar lives in the city of Amalo, far from the Court though not exactly in exile. He has not escaped from politics, but his position gives him the ability to serve the common people of the city, which is his preference. He lives modestly, but his decency and fundamental honesty will not permit him to live quietly. As a Witness for the Dead, he can, sometimes, speak to the recently dead: see the last thing they saw, know the last thought they had, experience the last thing they felt. It is his duty use that ability to resolve disputes, to ascertain the intent of the dead, to find the killers of the murdered. Celehar's skills now lead him out of the quiet and into a morass of treachery, murder, and injustice. No matter his own background with the imperial house, Celehar will stand with the commoners, and possibly find a light in the darkness. Katherine Addison has created a fantastic world for these books - wide and deep and true.At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.- Shop: buecher
- Price: 9.95 EUR excl. shipping
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Everyday French Cooking (eBook, ePUB)
This is it! The everyday French cookbook you'll truly cook from, night after night. Grounded in the wisdom of classical French cooking, yet updated for today, Everyday French Cooking emphasizes easy technique, simple food, and speedy preparation of French cuisine without sacrificing taste. Too often, French cooking evokes images of fine dining at ornate restaurants where a small army of chefs hover over sauces for hours, employing precision technique, special utensils, and obscure ingredients to craft elegant dishes. But this image of French cooking bears little resemblance to the way real French families eat. The French, like their American counterparts, want healthy and delicious food made quickly from easy-to-find ingredients using typical, everyday utensils. From modern takes on classic French dishes-like fish meunière and boeuf bourguignon-to recipes for the kind of cooking found in typical French homes today, Everyday French Cooking goes beyond a typical cookbook to include engaging anecdotes, local color, and keen insights about French home kitchens, as well as tips, tricks, and shortcuts to make French cooking accessible to any home cook. Dozens of beautiful finished-food photographs will further inspire you to cook fresh, vivid everyday French food any night of the week. Enjoy making, sharing, and savoring simple French recipes including: Melty Goat Cheese Salad with Honey and Pine NutsScallop Chowder with Fines HerbesAny-Day Chicken SautéSteak with Cherry and Red Wine SaucePork Chops with Mustard-Caper SauceSimple Beef Stew from ProvenceRoasted Salmon with Leeks, Wine, and GarlicClassic French PizzasStrawberry-Caramel Crèpes with Mascarpone CreamChocolate Pot de CrèmeLemon Curd Crème Brûlée Time-pressed cooks will especially appreciate the entire chapter of main-dish recipes that can be made in 30 minutes or less. Indeed, this book proves, again and again, that the joys of the French table are open to everyone. You can live modestly and cook simply, yet dine splendidly, night after night.- Shop: buecher
- Price: 17.95 EUR excl. shipping
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The Witness for the Dead
"At once intimate and literally operatic, it's everything I love about Katherine Addison's writing, in ways I didn't know to expect. I loved it." -John Scalzi Katherine Addison returns to the glittering world she created for her beloved novel, The Goblin Emperor, in this stand-alone sequel, The Witness for the Dead When the young half-goblin emperor Maia sought to learn who had set the bombs that killed his father and half-brothers, he turned to an obscure resident of his father's Court, a Prelate of Ulis and a Witness for the Dead. Thara Celehar found the truth, though it did him no good to discover it. He lost his place as a retainer of his cousin the former Empress, and made far too many enemies among the many factions vying for power in the new Court. The favor of the Emperor is a dangerous coin. Now Celehar lives in the city of Amalo, far from the Court though not exactly in exile. He has not escaped from politics, but his position gives him the ability to serve the common people of the city, which is his preference. He lives modestly, but his decency and fundamental honesty will not permit him to live quietly. As a Witness for the Dead, he can, sometimes, speak to the recently dead: see the last thing they saw, know the last thought they had, experience the last thing they felt. It is his duty to use that ability to resolve disputes, to ascertain the intent of the dead, to find the killers of the murdered. Celehar's skills now lead him out of the quiet and into a morass of treachery, murder, and injustice. No matter his own background with the imperial house, Celehar will stand with the commoners, and possibly find a light in the darkness. Katherine Addison has created a fantastic world for these books-wide and deep and true.- Shop: buecher
- Price: 16.99 EUR excl. shipping
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KENZO Parfums songs
KENZO startet eine grosse TV- und Presse-Breitseite für seine Parfums zu Weihnachten. Tracks von Coco Rosie, Tricky, Devendra Banhart, Broadcast u.v.a.KENZO startet eine dufte TV- und Presse-Breitseite für seine Parfums zu Weihnachten. Tracks von Coco Rosie, Tricky, Devendra Banhart, Broadcast u.v.a. 25 years of creations inspired by a certain vision of the world made of happy sensations, flashes of poetry, love stories too. 25 years aiming to, modestly but proudly, serve a crazy ambition: make the world more beautiful. With scents, textures, images and sounds. The world of Kenzo Parfums has always been carried by music, by its emotional impact, its way to steep us in an atmosphere, an intention, a whole universe. To turn our perceptions upside down. We chose 15 titles for this CD which made their mark on our recent history, and resonate like an echo to our perfume creations. They have accompanied us ever since, and for this birthday, we wanted to share them with you. TRACKS: 1. Cocorosie . good friday 4 23 2. shivaree . John, 2/14 3 22 3. Jil is Lucky . The Wanderer 3 40 4.. martina Topley-bird . Lullaby 4 23 5. Devendra banhart . a ribbon 2 40 6.Tricky . Cross to bear 3 48 7. Tom mcrae . You cut her hair 2 42 8. Joachim Johow . Di mechaje 1 02 9. rico . ramble 4 13 10. Devendra banhart . Carmensita 4 47 11.federico aubele . ante Tus ojos 4 21 12. Pleasure . stories 4 19 13. The heavy . how you like me now ? 3 37 14. elysian fields . fountains on fire 7 00 15. broadcast . Locusts 5 01- Shop: odax
- Price: 35.52 EUR excl. shipping
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Oktett/Nonett/Klarinettenkonzert 1
Gervase de Peyer (Klarinette) - LSO - Colin Davis (Dir) - New York Wind Quintet // Nonet, "The players contribute much to these apparent qualities in the music of affability, gaiety and good balance, and such a modestly-priced version is very welcome." (Gramophone)- Shop: odax
- Price: 9.21 EUR excl. shipping
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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- Shop: odax
- Price: 25.44 EUR excl. shipping
