15 Results for : choirboy

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    At the end of Not a Day Goes By, the terminally bisexual John Basil Henderson declares: “I’m back, in full form. And I’m out there. Roamin’. And switching lanes.” Now, in Any Way the Wind Blows, Basil, good-looking gadabout and homme fatal, is back at the top of his game (razzle-dazzling both the women and the men). All is well until Basil’s picture-perfect life starts to unravel.... Left at the altar a year before, jilted Broadway bombshell Yancey Harrington Braxton stages her comeback – this time as a recording star – but has she forgiven ex-fiancé Basil, or does she still need to even the score? As Yancey’s star continues to rise, her past threatens to catch up with her and she fears someone may be after her as well.... In a wicked little dance of revenge, Basil and Yancey struggle to keep their lives on track, while a chorus of unforgettable characters either come to their aid, or make matters worse. In the mix are: Yancey’s mother, Ava “Mama Dearest” Braxton, a diva’s diva and a second-rate showgirl housed in the body of an aging supermodel; the wise and wonderful Windsor Adams; and the new guy in town, Bartholomew “Bart” Dunbar, a rogue’s rogue and handsome hunk of a man who stands to make Basil look like a choirboy. With just the right amount of wickedness, love, and compassion, Harris’s masterful storytelling and delicious plot twists will have fans and newcomers alike frantically turning pages trying to find the answer to the ultimate question: Does revenge ever really pay? ungekürzt. Language: English. Narrator: Dominic Hoffman, Bahni Turpin, Mirron Willis. Audio sample: https://samples.audible.de/bk/rand/002552/bk_rand_002552_sample.mp3. Digital audiobook in aax.
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    • Price: 9.95 EUR excl. shipping
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    Norman: Through My Eyes has evolved over 50 years. Always ahead of his time, Norman Hastings began researching his own family history well before this national obsession became what it is today, and more latterly through a collaboration between Norman and his daughter to convert his notes into an electronic record.The motivation for the book was founded on conversations held with Norman and his mother about her own deprived childhood.Throughout the book Norman gives a unique view of his parents’ family: the Wilemans of Earl Shilton and Hastings of Leicester. It also chronicles his parents turbulent marriage and his own life growing up as a small boy in the poorest neighbourhoods of Leicester during the 1930s and 1940s.Sometimes poignant and sad, but mostly nostalgic and humorous, Norman recalls his own childhood with fondness and understanding, but one has to remember that what he and his family experienced wasn’t unique in any way for that era.Whether recalling his experiences as a St Barnabas Church choirboy and singing at the now closed Towers Mental Hospital, or his confinement in Groby Road Sanatorium with TB or being a Moat Boys school boy in a Leicester at war, the subtle way Norman’s own story evolves gives an insight into a world now gone but not that far from living memory. Norman would often say, "children grow up in spite of their parents." This is true, but because of his own deprived childhood Norman remained a children’s champion throughout his adult life and coined the phrase "every child matters" before it became a 21st-century social care slogan.Norman passed away August 27, 2011, aged 84 years following a short battle with cancer. Whilst he never lived to see his book published the drive to tell his and his mother’s story remained strong to the end. I am proud to now be doing this on Norman’s behalf through this book. Norman: Through My Eyes. A social and personal history of Leicester ungekürzt. Language: English. Narrator: Guy Mott. Audio sample: https://samples.audible.de/bk/acx0/167056/bk_acx0_167056_sample.mp3. Digital audiobook in aax.
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    • Price: 9.95 EUR excl. shipping
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    Choirboy III - Bustin!: ab 2.49 €
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    • Price: 2.49 EUR excl. shipping
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    Deborah Roberts (Sopran) // Peter Phillips directs The Tallis Scholars in the historic concert celebrating Palestrina's 400th anniversary, filmed in the Roman Basilica of Santa Maria Maggiore where the composer sang as a choirboy and later became maestro di cappella.
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    • Price: 22.05 EUR excl. shipping
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    In their lifetimes, Francisco Guerrero and Thomas Crecquillon were among the most popular and acclaimed composers of the 16th century. In the intervening years, however, Guerrero has been eclipsed in stature among Spanish Renaissance composers by his contemporary Victoria, Crecquillon, meanwhile, has disappeared almost entirely, with his greatest works surviving mostly as misattributions to better-known composers such as Clemens non Papa and Morales. Here we present a range of sacred works by both composers, including some of their most well-known compositions as well as pieces that may not have been heard by audiences in hundreds of years. Crecquillon, the earlier of the two composers whose works we present here, was choirmaster at the Imperial Chapel and unofficial court composer for Charles V, Holy Roman Emperor. He belongs to the generation of Franco-Flemish composers immediately following Josquin, a generation in which the art of imitative polyphony was raised to arguably it's highest state. Crecquillon's skill in polyphonic writing was widely recognized in his lifetime and immediately thereafter-a collection of motets published in 1576 calls him 'the most celebrated master' of Charles V's court, and many great composers of his and the following generation wrote parody masses on melodies of Crecquillon's. It is not clear why Crecquillon's music has been largely neglected in the resurgence of interest in Franco-Flemish polyphony, as it's beauty and skill in counterpoint hold up admirably in comparison to music of contemporaries such as Gombert and Clemens non Papa. One composer of the late 16th century who found Crequillon's melodies worthy of incorporating in his own music was the Spaniard Francisco Guerrero. Of the eighteen settings of the mass Guerrero produced, one of the most successful is the Missa Congratulamini mihi, based on the Crecquillon motet of that name, which we include on this recording. Guerrero was a prodigy, graduating from choirboy at Seville, where he was born, to choirmaster at Jaen [needs diacritic] while still in his teens. He soon returned to Seville with the promise of eventually succeeding to the post of choirmaster there. Despite having apparently obtained his dream job, Guerrero seemed to have a great curiosity about the world at large and spent many years away from his post traveling, which included a remarkable visit to the Holy Land that culminated in his capture and ransom by pirates. His published account of this journey became almost as popular as his music. As a composer, he was perhaps best known in his lifetime for his deeply felt settings of Marian texts, which earned him the sobriquet 'El Cantor de Maria.' In the initial revival of interest in sacred Renaissance polyphony in the mid- to late 20th century, Guerrero's music was mostly neglected in favor of that of his contemporary and countryman Tomas [needs diacritic] Luis de Victoria, in recent years, however, many significant performances and recordings have begun to redress this imbalance. - Tom Crawford, 2013 King Solomon's Singers: Heather Ahrenholz Michael Byrley Tom Crawford Tamara Ghattas Jessica Melger Stephanie Sheffield William Bouvel William Chin Matthew Dean Amy Mantrone Peter Olson King Solomon's Singers is an ensemble dedicated to the performance of Renaissance polyphony and chant. The members of the ensemble are professional and semi-professional singers from the Chicago area-members of ensembles such as Chicago Chorale, Schola Antiqua of Chicago, The Oriana Singers, The Chicago Early Music Consort, and Chicago a cappella-who share a love of this particular repertoire. For more information, visit our website or find us on Facebook. Special Thanks: This recording is dedicated to Robert and Susan Crawford, who made it possible.
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    • Price: 26.65 EUR excl. shipping


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