43 Results for : languid

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    Self-Motivation Hacks: 15 Simple Practical Hacks to Get Motivated and Stay Motivated , Hörbuch, Digital, ungekürzt, 42min
    Unlock the keys to get motivated and stay motivated! Have you ever felt like a failure for being unable to motivate yourself? Is everyone else around you able to move forward and complete things seemingly at ease? Does your lack of ability to complete tasks leave you feeling frustrated like you aren't good enough? Self-motivation can help alleviate these problems. It can keep you going whenever you have a lack of energy or simply don't "feel" like it...but why bother? Your self-motivation is a combination of passion, enthusiasm, and action that you foster from within yourself. It allows you to dig for positivity and accomplish goals to become more fulfilled and happy. It allows you to face and overcome adversity with less difficulty. You can even use self-motivation to bring out inner strength and become more confident. With good self-motivation, you can achieve more, allowing you to excel in work and life. By learning how to stoke your inner fire, you can propel yourself forward to become the best version of yourself. In "Self-Motivation Hacks," discover how to: Ignite your motivational engine to jump-start activities Give yourself a boost by recalling your own achievements Fuel and connect your own adrenaline to personal motivation Find your inner winner mentality and get into warrior mode See the worst case scenario to snap yourself out of languid mode Create manageable increments and set yourself up for success Use other people's feedback to get motivated on the right track Overcome any major setback by looking for micro-solutions Be reinvigorated by the unknown to get excited rather than afraid Sustain your motivation through the five-tier motivational pyramid ...and more for you to unlock! Motivation is your greatest asset. With it, you can move past physical ungekürzt. Language: English. Narrator: Life 'n' Hack. Audio sample: https://samples.audible.de/bk/acx0/096170/bk_acx0_096170_sample.mp3. Digital audiobook in aax.
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    Love at First
    "The most delightful cast of characters I've met in ages…a modern romance masterpiece." -New York Times bestseller Christina Lauren From Kate Clayborn, the acclaimed author of Love Lettering, comes a sparkling, tender novel about bickering neighbors, surprise reunions, and the mysterious power of love . . . Sixteen years ago, a teenaged Will Sterling saw-or rather, heard-the girl of his dreams. Standing beneath an apartment building balcony, he shared a perfect moment with a lovely, warm-voiced stranger. It's a memory that's never faded, though he's put so much of his past behind him. Now an unexpected inheritance has brought Will back to that same address, where he plans to offload his new property and get back to his regular life as an overworked doctor. Instead, he encounters a woman, two balconies above, who's uncannily familiar . . . No matter how surprised Nora Clarke is by her reaction to handsome, curious Will, or the whispered pre-dawn conversations they share, she won't let his plans ruin her quirky, close-knit building. Bound by her loyalty to her adored grandmother, she sets out to foil his efforts with a little light sabotage. But beneath the surface of their feud is an undeniable connection. A balcony, a star-crossed couple, a fateful meeting-maybe it's the kind of story that can't work out in the end. Or maybe, it's the perfect second chance . . . Praise for Love Lettering "Delicious and beautiful and perfect." -New York Times bestseller Sarah MacLean "A novel of lush complexity, one bursting with humor, a tender melancholy, and meditations on love, friendship, and life any reader can find solace and inspiration in." -Entertainment Weekly, A+ "Fresh, funny, clever, and deeply satisfying." -Kirkus Reviews STARRED review "[A] lush, languid romance that merges the nostalgic past with the technological present." -The Washington Post
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    Darwin & Australia's Northern Territory: Travel Adventures , Hörbuch, Digital, ungekürzt, 568min
    Following are a few brief excerpts from this guide, written by a lifelong resident of Australia. She covers everything you might want to know about this part of Australia - guaranteed! The places to stay, from budget to luxury, rentals to B&Bs; the restaurants, from fast food to the highest quality; the beachwalks and bushwalks; the wildlife and how to see it; exploring the country by air, on water, by bike, and every other way. Australia's Northern Territory is a vast land of contrasts, stretching from the beautiful reefs and tropical rainforests at the very top of the country down through the amber deserts and dusty golden plains of the Red Centre. In the north the land is edged by a melding of languid mangrove swamps and smooth white beaches. Brilliant corals spread out beneath the waters, lining coves split by wide brown estuaries. Rivers snake from the coast down through thick woodlands and deep canyons, dwindling in width as they reach the drier plains. Here, the north Australian Outback is the true, endless Land of the Never Never, so famously coined by author Jeannie Gunn in her We of the Never Never novel of Outback station life. Quite simply, those who live here or who have stumbled across the fascination of its true beauty can never, never leave it. Halfway down through the territory are the great, ochre-colored deserts, where the fine, red earth is splashed with random thatches of spiny grass and clusters of rough-chiseled boulders. All you can see to the horizon at noon is blood-red earth and pale blue sky, the vast expanse only interrupted by the low, green-gold peaks of the MacDonnell Ranges at the far southern edge of the region. Their rumpled slopes hide pockets of waterholes and huge, shallow lakes, all of which erupt with animal activity after the rains. Near the base of the territory, near the border of South Australia, is the great red monolith of Uluru, the country's most famous sight, which pushed up through the surface millions of y ungekürzt. Language: English. Narrator: Kay Nazarchyk. Audio sample: https://samples.audible.de/bk/acx0/032400/bk_acx0_032400_sample.mp3. Digital audiobook in aax.
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    Ford County: Stories , Hörbuch, Digital, ungekürzt, 522min
    In his first collection of short stories John Grisham takes us back to Ford County, Mississippi, the setting of his first novel, A Time to Kill. Wheelchair-bound Inez Graney and her two older sons, Leon and Butch, take a bizarre road trip through the Mississippi Delta to visit the youngest Graney brother, Raymond, who's been locked away on death row for eleven years. It could well be their last visit. Mack Stafford, a hard-drinking and low-grossing run-of-the-mill divorce lawyer gets a miracle phone call with a completely unexpected offer to settle some old, forgotten cases for more money than he has ever seen. Mack is suddenly bored with the law, fed up with his wife and his life, and makes drastic plans to finally escape. Quiet, dull Sidney, a data collector for an insurance company, perfects his blackjack skills in hopes of bringing down the casino empire of Clanton's most ambitious hustler, Bobby Carl Leach, who, among other crimes, has stolen Sidney's wife. Three good ol' boys from rural Ford County begin a journey to the big city of Memphis to give blood to a grievously injured friend. However, they are unable to drive past a beer store as the trip takes longer and longer. The Quiet Haven Retirement Home is the final stop for the elderly of Clanton. It's a sad, languid place with little controversy, until Gilbert arrives. Posing as a lowly paid bedpan boy, he is in reality a brilliant stalker with an uncanny ability to sniff out the assets of those "seniors" he professes to love. Clanton is rocked with the rumor that the gay son of a prominent family has finally come home, to die. Of AIDS. Fear permeates the town as gossip runs unabated. Featuring a cast of characters you'll never forget, these stories bring Ford County to vivid and colorful life. Often hilarious, frequently moving, this collection makes it abundantly clear why John Grisham is our most popular storyteller. ungekürzt. Language: English. Narrator: John Grisham. Audio sample: https://samples.audible.de/bk/rand/002039/bk_rand_002039_sample.mp3. Digital audiobook in aax.
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    • Price: 9.95 EUR excl. shipping
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    Mothering Sunday
    Now a major film starring Olivia Colman, Colin Firth, Odessa Young and Josh O'Connor (The Crown), scripted by Alice Birch (Normal People)'Exquisite . . . Mothering Sunday shows love, lust and ordinary decency straining against the bars of an unjust English caste system' Kazuo Ishiguro It is March 30th 1924. It is Mothering Sunday.How will Jane Fairchild, orphan and housemaid, occupy her time when she has no mother to visit? How, shaped by the events of this never to be forgotten day, will her future unfold?Beginning with an intimate assignation and opening to embrace decades, Mothering Sunday has at its heart both the story of a life and the life that stories can magically contain. Constantly surprising, joyously sensual and deeply moving, it is Graham Swift at his thrilling best.Praise for Mothering Sunday:'Mothering Sunday is a powerful, philosophical and exquisitely observed novel about the lives we lead, and the parallel lives - the parallel stories - we can never know ... It may just be Swift's best novel yet' The Observer'Dazzling . . . a vanished world is resurrected with superb immediacy . . . wonderfully accomplished' Sunday Times'Stunning . . . It is about the most perfect novel you could wish to read' The Guardian'From start to finish Swift's is a novel of stylish brilliance and quiet narrative verve . . . Swift is a writer at the very top of his game' Evening StandardFrom the Booker-winning author of Last Orders and Waterland comes a long-awaited new novel. 'Mothering Sunday is bathed in light; and even when tragedy strikes, it blazes irresistibly... Swift's small fiction feels like a masterpiece' The Guardian'Mastery and resonance . . . It's one of the novel's great strengths to be able to shift with such agility between focus scene and lifetime recollection . . . the languid, blissful minutes of March 30, 1924 seem to contain all the succeeding decades' Times Literary Supplement 'A dazzling read: sexy, stylish, subversive' Herald Scotland'A jewel of a book, a subtle, erotically charged novella suspended between past and future' Hermione Lee'A work of gold from the subtle pen of the great Graham Swift' Le Monde'With this novel he captures what it means to be alive' Der Spiegel'An exquisite novella of love and loss . . . a short yet powerful and intricately layered work . . . every sentence counting and not a word out of place' The Australian
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    • Price: 9.49 EUR excl. shipping
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    Languid Bodies Grounded Stances
    Languid Bodies Grounded Stances - The Curving Pathway of Neoclassical Odissi Dance: ab 30.49 €
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    Trio Nahual
    The program presented on this CD is made up, for the most part, of works seldom played in the world of chamber music for classical guitar, and dedicated to the even rarer formation of the trio. Nevertheless, the aim is to present a repertoire chosen from pieces having in common, beauty and depth of feeling. In order to compose a typical recital program ranging from the Baroque period to the present day, different sources have been used, such as, for example, the transcription technique, ever attentive to the real essence of the work. We have also explored the 'historical' repertoire for three guitars, and, lastly, we have introduced new pieces, which enrich the contemporary repertoire for this formation. Furthermore, we consider that the use of three identical guitars made by the same luthier helps to create the sense of listening to one single instrument, in complete accordance with our philosophy of 'making music together'. Our program begins with the only work not originally intended for guitar trio: an unusual transcription of the G major Concerto for two mandolins, strings and basso continuo (RV 532) by Antonio Vivaldi (Venice, 1678 - Vienna, 1741). Phenomenal violinist and prolific composer of concertos, the Red Priest wrote this piece for the 'figlie di choro', a large instrumental and choral ensemble entirely composed of young girls taken in and educated by the Pio Ospedale della Pietà, a prestigious Venetian orphanage noted for the high quality of the musical education imparted there. Since the Concerto for two mandolins is composed in effect of three real parts, with the violins doubling the solo instruments during the Tutti, the arrangement foresees two guitars for the melodic parts (mandolins and first and second violins), whilst a third instrument is assigned to playing the basso continuo (originally played by a cello and a polyphonic instrument). The concerto bases the structure of it's three movements on the principle of a continual search for a strong contrast of sound and is composed in Vivaldi's most typical creative and stylistic vein, defined by Joachim Quantz as 'a new genre of musical pieces with magnificent ritornellos'. Such a contrast of sound, both harmonic and melodic, is realized magnificently through the continuous dialogue between the two mandolins, moving freely from the brilliant, virtuoso character of the two fast movements to the splendid cantabile of the central Adagio. Leaving behind the Italian Baroque period, we now move towards the elegant classicism that permeates the Trio Concertant pour trois guitares Op. 29 in D Major by the French composer Antoine L'hoyer (Clermont - Ferrand, 1768 - Paris, 1852). Despite the fact that the figure of L'hoyer received little attention during his lifetime, to be then completely forgotten for over a hundred years, the great artistic value of his recently rediscovered compositions assures his right today to be considered one of the most interesting composers for the guitar of the nineteenth century. The piece is divided into four movements following the archetype of the classical sonata. It opens with a substantial Allegro moderato in sonata form, which rebels against the usual patterns of musical writing for the guitar by searching out, during the development, the most daring harmonies that one could wish. The second movement, on the other hand, is a short Menuetto in E minor with a Da Capo finale, and a poco vivace tempo but with a playful contrasting central Trio in the major key. The third movement is an Adagio molto cantabile, characterised by melodies that are simple and flowing but not lacking in great lyricism. A brilliant Andante with variations closes the whole cycle underlining throughout the six variations all the typical possibilities of the guitar writing of the period. Although the Trio Concertant would seem to be less striking when compared to the virtuoso duets for guitar, they share an excellent instrumental effect, underlining all the qualities of the unusual group of instruments to which it is dedicated. It could be said that here, too, L'hoyer's refined writing arises as a veiled tribute to the great piano composers - Haydn and Mozart - to whom he surely owes his inspiration. The exquisite composition that Jean-Michel Damase (Bordeaux, 1928) dedicated in 2004 to the guitar trio, takes us to modern-day France, in spite of being devoted to evoking a nostalgic retro mood. Quatre pour trois, in fact, does nothing to hide the deep admiration that Damase professes for the Parisian music of the Belle Époque period and, of course, for it's distinguished founders, Debussy, Fauré and Ravel. The charm and elegance of his works remain true to the stylistic tradition learnt at the Paris Conservatoire where his composition studies earned him, at only nineteen years of age, the Prix de Composition and subsequently the prestigious Prix de Rome. The four extremely short bagatelles that make up the work, entitled simply I, II, III, IV, remind us of the tiny musical pieces placed within the eccentric French piano suites. The real difficulty of these short pieces, however, proves to be not so much a technical one as a creative quest among different shades and colours in order to highlight the dialogue between the guitars. Functioning as a kind of stylistic watershed, the following piece, takes us towards the Central European cultural scene, which developed right at the very beginning of the Twentieth Century. In spite of it's small size, the Rondo fur Drei Gitaren by the German composer Paul Hindemith (Hanau, 1895-Frankfurt en Main, 1963) can without doubt be considered one of the masterpieces of the chamber music repertoire for the classical guitar. Conceived as a musical intermezzo, the Rondo was composed in 1925 within the new musical language that Hindemith developed from the 1920's onwards, characterized by a complex contrapuntal style already distant from the Expressionism and late German Romanticism that imbued the works of his youth. This new style found extensive space for research in the music for instrumental groups to which Hindemith dedicated a series of works written between 1922 and 1927, called simply Kammermusik. The mechanicalness of the Rondo, with the aggressive rhythm of it's counterpoint and it's anti-Romantic 'assembly-line' tempo correspond to the ideal of music that found broad confirmation in the Italian artistic movement known as Futurism. It was not by chance that Marinetti, the author of the Manifesto that exalted technology, progress and the dynamism of industry, defined Hindemith, perhaps after having listened to Chamber music, 'the leading figure of futurist mechanism'. We end the musical journey undertaken in this CD by returning once more to Italy, where we began. Two pieces are now presented written expressly for the Trio Nahual by the young guitarist, composer and painter Marco De Biasi (Vittorio Veneto, 1977). The first piece, Eires (The title is derived from the word 'serie' read backwards) is a theme with variations in six sections. The theme, conceived in the vein of a freely treated serialism, is characterised by a captivating melodic line spread between the three guitars. The various thematic units are later taken up and developed in different ways so as to create the five variations that, alternating opposing characters and sound settings between them, range from the South American sounding waltz, to the languid central recitative, to the wild counterpoint of the final variation. The careful reader will have understood at this point that Eud Eires, as suggested by the title, is in a certain sense, the continuation of the previous piece, therefore 'serie due' (second series). The complex formulations that are at the basis of this Fantasia for three guitars, can be found in the studies that the composer carried out on the theories expounded by Kandinsky in his book 'The spiritual in Art'. In Eud Eires, created at the same time as the pa
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    Languid Gongue
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    Supra/Infra
    ABOUT RADARS TO THE SKY 'Literary and historical allusions crop up on 'Prufrock,' which sparkles with chiming post-punk guitars as Andrew Spitser confides with a Morrissey-like sense of regret, 'The crashing waves drown out all I say.' He duets with his keyboardist-wife Kate Post Spitser on 'Long Walk Home,' where his jangly guitar spirals blend enchantingly into her breathy delivery. 'Big Bang' evolves from a spacy, languid intro with it's flickering scrapes of Television-style chords into an impressively stormy landscape of whirring keyboards and crashing guitars.' - LA Weekly 'Five intense volleys of indie rock with arcs back to a time indie rock was less self-conscious. The gnarly interplay between guitarists and the time signatures might bring Pavement or Sebadoh to mind.... Big and bold (and tender, when Kate Spitser's vocals enter the mix), rock whose working-class trappings disguise an essayist's soul.' - LA Times Buzz Bands 'Radars to the Sky are easily among the best new live indie rock acts in LA.... They have tons of off-kilter charm and really deliver live.... Your new favorite live band.' - Radio Free Silverlake 'The energy they exuded was unfathomable. Any time I tried to look for somebody else, buy a drink at the bar, or write some notes I would immediately have my attention taken back by whatever was happening on stage.' 'They are purveyors of an epic sound that demands and thrives on an excellent soundsystem. Their clever musical moves, swift guitar flourishes, keys that haunt beneath the skin of the thing, Andrew Spitser's undeniable voice, and their penchant for roping you in with the beat and rhythm were as engaging as any piece of musical entertainment you could ask for.'- Classical Geek Theatre 'If all is right in the world, these guys should be the next big thing out of Silverlake.' - Between Love and Like (NYC) 'Radars To The Sky proved to be extremely worthy of their residency at the Echo with a compelling performance.... 'Victoria' was a dynamic blast of frantic guitars and bouncy keyboards that were pulled together nicely by Andrew's longing vocals.' - Little Radio 'Headliners Radars to the Sky constructed a tight, furiously whiplashed set list of pounding, literate, and intricately arranged indie rock, surrounded by the twinned bookends, "You Take it To Heart" and "Big Bang." The two songs glide from aching balladic drifts to shattered rhythm and brass implosions (sax and trumpet lines crossweave on "Heart") of Seamus Simpson's knotty, finger-bled guitar lines, the spaced bliss of Kate Spitser's keyboards, and vocalist Andrew Spitser's impassioned howls.' 'It was a show that easily carried the epic swagger of a headliner.' - Web In Front 'The EP begins with 'Long Walk Home,' a fuzzy, charming duet that has all the importance and hook of the best indie singles.... 'I Might' is the real revelation here: the drumming is some of the best around, and the fast pace and booming vocal tracks show off the best parts of this excellent new band.... This may be the best EP of 2008.' - Berkeley Place 'The buzz on this band has been steadily brewing.' - Rock Insider 'They combine the traditional indie rock guitar centered, multiple-part stylings of bands such as Built to Spill, Modest Mouse, and Pavement with some more traditional rock elements and then throw in a bit of alternative country introspection along the lines of Wilco to form their very own indie rock perspective.' - Epitunes 'Their live show is incredibly strong and Andrew, the lead singer, has an incredible stage presence that makes the band a joy to watch.' - Floating Away.
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    Kegelstatt Trio/Fairy Tales/Solider's Tale/Contras
    Thomas Hill, clarinet Lynn Chang, violin Marcus Thompson, viola Randall Hodgkinson, piano (Mozart, Schumann) Mihae Lee, piano (Stravinsky, Bartók) Mozart's K. 498 trio in E-flat major was completed on August 5, 1786 and the sobriquet "Kegelstatt" comes to the piece because of the intriguing but not proven legend that Mozart conceived and completed the entire piece in his mind during a game of skittles, also known as "keggles." The work itself-an astounding instance of internal musical cohesion as well as the prowess of feminine delicacy-is in three movements: a stately, confident Andante, characterized by a persistent and elegant groupetto figure, a blissful, almost defiant little Menuetto, and finally a soaring, noble Rondo which sings from beginning to end and which as Alfred Einstein wrote "does not only satisfy the listener, but leaves him enchanted." The title of Schumann's Märchenerzählungen ("Fairy Tales") tells us that these lyrical miniatures are character pieces intended to suggest favorite stories of childhood. However, if Schumann had any particular tales or situations in mind, he never identified them, and we can enjoy the music without being burdened by such details. The characters who were most active in the mythical Davidsbünd, Schumann's early "invention" to fight the good fight against the philistines of German artistic life, were the heroic Florestan and the dreamy Eusebius. Their personalities are still evident in the music composed in the fall of 1853, particularly in the third movement (Eusebius) and the final movement, in which one can imagine Schumann and his heroic Florestan marching out one last time against the forces of philistinism. L'Histoire du Soldat ("The Soldier's Tale") is from a time when Stravinsky's artistic biological clock was turning his creative bent against his own penchant for Russian folk material. The original orchestration (violin, clarinet, bassoon, trumpet, trombone, double bass, percussion, and narrator) was specifically designed so that the work could be presented as an easily toured theatre piece. In Stravinsky's own paring down for the trio reduction, a large part of the "missing" instrumentation is relegated to the virtuosic piano part, although the clarinet inherits significant bits of trumpet, bassoon and trombone utterances while retaining responsibility for it's own role in the original version. The violin role remains the fiendish tour de force that it is in the original rendering, and the piano and clarinet parts are, at the very least, eminent undertakings. Bartók's Contrasts was commissioned by Benny Goodman and Joseph Szigeti. Far from trying to blend the three very different types of instruments into a single complex sonority, Bartók exploits the difference in sound production. The Verbunkos was a musical genre employed to encourage enlistments in the Hungarian army in the late eighteenth and early nineteenth centuries, featuring sharply dotted rhythms in a slow march tempo. The Verbunkos ends with a clarinet cadenza leading on to the languid slow movement, in which piano and clarinet begin by mirroring one another, while the piano contributes soft percussive tremolos inspired by Balinese gamelan music. The fast dance, Sebes, begins with a short passage on a scordatura violin (with the E-string tuned to E-flat and the G-string to G-sharp), following which the violin is directed to return to a second, normally tuned instrument. The outer sections of the dance are in a lively 2/4 meter, but the extended middle section uses what is often called "Bulgarian rhythm" which Bartók learned in his folk music studies. When the original 2/4 returns, the dance gets wilder and wilder before reaching it's brilliant conclusion. / Edited from CD liner notes by Thomas Hill (Mozart & Stravinsky) and Steven Ledbetter (Schumann & Bartók) About Boston Chamber Music Society: Founded in 1982 by a group of enthusiastic music colleagues, Boston Chamber Music Society, BCMS, is an ensemble of superb musicians who come together in different combinations to prepare and perform chamber music. Over the last twenty plus seasons, BCMS has built a reputation for impassioned performances, ripened over time by the long personal and professional histories of it's member musicians. While they are all celebrated soloists, their primary passion remains the rich and extensive chamber music repertoire. BCMS invites guest musicians, chosen for their particular affinity for, and mastery of, the works they will play, to join the members, expanding the artistic possibilities to virtually all works in the chamber music repertoire. BCMS presents the most extensive and longest-running concert series in Boston's musically fertile region and is distinguished for it's enduring performance standards. The ensemble playing demonstrates the perfect combination of control and freedom that comes from years of collaboration: individual musical personalities find expression without dominating. The effect is one of the miracles of music-sheer aesthetic beauty.
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