44 Results for : resuming

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    Enemy at the Gates
    THE NEW PULSE-POUNDING THRILLER IN THE NEW YORK TIMES BESTSELLING MITCH RAPP SERIESWhen a high-level mole with power to rewrite world order infiltrates the CIA, Rapp must uncover a threat like no other.After a blackout swept the nation, America is resuming life as normal with a new president, one unlike any Mitch Rapp has worked with in the past. As Rapp backs away, the new president, in turn, questions his loyalty.Rapp decides to take a much-needed break. But when it's discovered that a mole in the CIA has been digging into their systems for information on Nicholas Ward, the world's first trillionaire and the man personally overseeing cutting-edge medical research in Uganda, he is pulled back onto the job.Protecting Ward, Rapp is completely cut off from the agency as he works to identify and expose the mole. But the situation is complex. And the threat is one he could never have imagined...'Packed with enough suspense to match all the hard-hitting action, Enemy at the Gates ups the ante moving forward, and if you think you've already seen Kyle Mills at his best . . . think again. This one is not to be missed' The Real Book SpyPraise for the Mitch Rapp series 'Sizzles with inside information and CIA secrets' Dan Brown 'A cracking, uncompromising yarn that literally takes no prisoners' The Times 'Vince Flynn clearly has one eye on Lee Child's action thriller throne with this twist-laden story. . . instantly gripping' Shortlist 'Action-packed, in-your-face, adrenalin-pumped super-hero macho escapist fiction that does exactly what it says on the label' Irish Independent 'Mitch Rapp is a great character who always leaves the bad guys either very sorry for themselves or very dead' Guardian 'Outstanding . . . Mills is writing at the top of his game' Publishers Weekly 'Hard to kill and easy to root for . . . plenty of satisfying action' Kirkus Reviews
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    Pirates of The Bahamas (eBook, ePUB)
    Mary Burleigh never knew that her mother, the straight-laced Carolina lady Anne Burleigh, had in her youth been the infamous pirate, Anne Bonny, and that her real father had actually been a pirate. All Mary knew was the privileged life she had led growing up on a plantation. While on a sailing voyage to Jamaica Mary is abducted by the pirate captain Jack Read, the famous son of Calico Jack Rackham, but her initial horror soon turns to unimaginable bliss as during her time aboard she transitions from hostage-for-ransom to cabin girl, and then to lover. The depth of passion that she and Jack share exceeds all of her fantasies, and she dreams of an idyllic future living with him on his island paradise. But when Mary wants to tell her frantic family that they no longer need to worry it results in her mother meeting up again with the pirate Mary Read, and she soon discovers the secret of her mother's past. Worse, could Jack Rackham have been her father also, meaning that she and Jack might be half-siblings? Mary Burleigh decides that she alone will bear the burden of their possibly incestuous relationship and frantically writes a letter to Jack telling him to forget her; that she was returning with her mother to Carolina. Assuming that Mary left because he wasn't able to provide her the life in which she was raised, Jack reasons that he has only one way to get her back; he must become rich and buy his way into Carolina society as a gentleman. He turns from pirate to privateer with an eye on the treasures of the Spanish Main. It's a desperate move, but death at the hands of the Spanish would be infinitely preferable to a life devoid of Mary. Back in Carolina a despondent Mary is unable to forget Jack and is emotionally incapable of resuming her old life. Her mother decides the only solution is to marry her off, so she sets about selecting a suitable husband for her. Will Jack survive and succeed in establishing himself as a gentleman? Will the true identity of Mary Burleigh's father be revealed? Will it all happen in time, before her mother succeeds in arranging her marriage?
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    Resuming Maurice
    Resuming Maurice - And Other Essays on Writers and Celebrity: ab 10.49 €
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    Piano Recital I
    PARTITA No. 2 in C minor, BWV 826 JOHANN SEBASTIAN BACH (1685-1770) Bach's six Partitas date from the ripe period following his move to Leipzig (1723). His first published instrumental works, they appeared individually in the years 1726-31 (the present C minor Partita in 1727) and were assembled as his 'Opus One' in 1731, collectively titled Clavierübung (keyboard Practice or Exercise). According to Bach's first biographer, Johann Nicolaus Forkel, the partitas made 'a great noise in the musical world. Such excellent compositions for the clavier had never been heard before. Anyone who had learnt to perform well some pieces out of them could make his fortune in the world thereby,... they are so brilliant, well sounding, expressive, and always new.' Forkel was correct in his appraisal, and these creations do indeed unfailingly renew themselves. They are effectively playable on piano, harpsichord and clavichord, and lend themselves to a multitude of interpretations. The Partitas (known also as German Suites, as Bach announced, consisted of 'Preludes, Allemandes, Courantes, Sarabandes, Gigues, Minuets, and other Galanteries.' The Partita in C minor opens with a Sinfonia rather than a Preludium which is in effect a three-stage Italian Ouverture beginning with a clarion call to order. The proscribed Allemande, Courante and Sarabande are filled out with a Rondeau (replacing the Menuet} and a vigorous, driving Capriccio in lieu of the concluding Giga. VARIATIONS in F minor, Hob. XVII : 6 SONATA No. 53 in E minor Hob. XVI : 34 JOSEPH HAYDN (1732-1809) The F minor Variations (sometimes commonly known as 'Andante con Variazioni') were composed in 1793, and exemplify the mastery and tremendous emotional breadth of some other late Haydn symphonies. As a matter of fact, one can draw a striking analogy between the Tema of this masterpiece and one of the so-called 'Drumroll' Symphony's second movement: Both of these are double themes consisting of a first part minore, it's sequel in answering maggiore. Of course each variant becomes increasingly more embellished until the coda where a climax of astonishing intensity and subdued drama is joltingly introduced. When young Beethoven was sent to Vienna with a stipend from Count von Waldstein so that the burgeoning composer could study with Haydn and 'regain the soul of Mozart' (who had just died), I daresay that Beethoven did indeed inherit much from Mozart, but Haydn probably had the biggest influence on his young charge. These sublime Theme and Variations offer evidence for this writer's assertion. The Sonata in E minor was first published in July 1773 by Beardmore & Birchall of London but almost certainly, Haydn had composed it considerably earlier. In any event, this E minor Sonata is one of the finest and most popular of the master's 'middle period.' It's first movement, Presto's engaging, disjunctive style is for me reminiscent of C.P.E. Bach innovative mood. One noteworthy feature is the way the music keeps breaking up into small paragraphs and then resuming it's forward course. Such drama and imagination! In contrast, the Adagio slow movement sings with a long, ruminative line. As the movement reaches it's apex, the pulse begins to quicken and, almost without resolution we find ourselves face to face with a sprightly Finale, Vivace molto innocentemente. This linking of these two movements is very much a harbinger of the familiar device used by Beethoven in so many of his mature compositions (e.g. The Fourth and Fifth Piano Concertos, the Violin and Triple Concertos, the Waldstein, Appassionata and Lebewohl Sonatas and the Serioso String quartet). DREI KLAVIERSTÜCKE, Op. 117 JOHANNES B HMS (1833-1897) During the Summer of 1890, Brahms completed his String Quintet in G major, Op. 111 and, in September, sent the manuscript to Fritz Simrock, his publisher. Simrock had hoped Brahms would oblige with a Fifth Symphony and indeed, the composer had begun work on such a score. But, alas, along with the Quintet's manuscript, came a note: ' The time has come for you to say goodbye to any further compositions of mine.' A new symphony was out of the question and Brahms facetiously added further that he had thrown his leftover manuscript paper in the river at the end of his vacation at Bad Ischl. Incentive was restored by a visit to Meiningen in March 1891. The rejuvenating catalyst was an evidently superb musician named Richard Mühfeld and posterity owes to him a substantial debt for causing Brahms' change of heart. Having come forth with two works inspired by Mühlfeld, the Trio for Clarinet, Cello and Piano, Op. 114 and the Quintet for Clarinet and Strings Op. 115, and with his creative juices restored, the 'retired' master, as an extra bounty, penned a superb collection of short piano pieces, Op. 116-119, his two sonatas Op. 120, the Ernste Gesang, Op. 121 and the Chorale Preludes for Organ, Op. 122. The three Intermezzi Op. 117 were published in 1892, the same year as Op. 116. No. 1 in E Flat, an Andante in 6/8 metre with a second section, piu adagio--un poco andante, is a German version of a Scottish cradle song 'Lady Anne Rothwell's Lament' and Brahms follows it so closely that in one section the words can actually be fitted to his melody. The second Intermezzo in B flat minor is likewise, another song without words. It's mood of bittersweet nostalgia is very much akin to the poco Allegretto third movement of the Third Symphony, Op. 90 (Brahms tempo indication for Op.117/2 is Andante non troppo--piu adagio). The triptych is completed by the Intermezzo in C sharp minor (Andante con motto--poco piu lento moto ed espressivo, again inspired by an old ballad. SONATINA (1957) Edino Krieger (1928) Edino Krieger was born in Brusque, Santa Catarina on March 17, 1928. He studied music with his father, a conductor, composer, and founder of the local Conservatory, and later studied the violin with Edith Reis (1943) and composition with Hans-Joachim Koellreutter (1944-48) at the Rio de Janeiro Conservatory, and subsequently had lessons with Aaron Copland at the Berkshire Music Center in Tanglewood and with Peter Mennin (1948-49) at the Juilliard School. His early works were in late Romantic and Impressionist style, but after a brief dodecaphonic period (1947-53), he turned toward neo-Classicism with nationalistic allusions, and fused the latter two styles from 1966. The composer has given his own text for the Sonatina here recorded: 'Composed in 1957, the piano Sonatina belongs to Krieger's neoclassical period. In 1952 the composer abandoned avant-garde experiments in order to heighten his command of traditional forms, with classical and pre-classical styles within a free tonal-modal idiom and incorporating Brazilian thematic elements. The neoclassical phase includes teaching pieces, designed for developing young instrumentalists. Among these works are the Suite for Strings, the Prelude and Fugue and the Sonatina for piano. The Sonatina is in two movements. The first, marked Moderato, begins with a binary Alberti bass, below a ternary melodic line with a cantabile, lyric character. The contrasting marcato second theme appears in the left hand and both themes are worked in a long and dynamic development. The brief recapitulation brings the return of the initial lyric material. The second, Allegro, has a moto perpetuo character and is built upon a wild, undulating melodic figure in the low register. Above this appears an affirmative theme of episodic character, though the initial undulating material predominates throughout.' Music Notes by Harris Goldsmith.
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