1,504 Results for : develops
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Wuthering Heights
An epic love story that spans childhood into adulthood, the film follows Heathcliff, an outsider taken in and given a home by a benevolent Yorkshire farmer, Earnshaw. Heathcliff develops a passionate relationship with the farmer's teenage daughter, Catherine, inspiring the envy and mistrust of his rough-hewn son, Hindley. Years later, when Earnshaw dies, the young adults must finally confront the intense feelings and destructive rivalries that have developed between them.- Shop: odax
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Australian Festival
Jade CDs are widely heard on national and fine music stations throughout Australia, and are recognised as a valuable resource by educational authorities as being uniquely representative of the work of Australian composers. They are manufactured in limited runs of 500 and stocks are therefore may be regarded as collectors' items! All Jade CD covers are distinctive. Most Jade CDs have an anthology format and include works by several composers. It's great to have these CDs on offer for a wider audience at CD Baby. 'AN AUSTRALIAN FESTIVAL' JADCD 1095 Works by: Tomas Luis de Victoria, Robert Allworth, Carson P. Cooman, Lawrence Bartlett, Derek Strahan, Ann Carr-Boyd. Eric Gross, Duration: 64'09' Summary: This CD displays a characteristic feature of Jade releases - a combination of sacred and secular music. The colourful cover illustration of St. George slaying a dragon, illustrates the opening 4'30' track by Allworth: Prelude for the Most Holy Name of Jesus and Saint George and The Dragon (1990) which is followed by Allworth's 6 Meditations on Early English Saints (1990). Both works are for organ and are given a vivid interpretation by US organist and composer, Carson P. Cooman, on the organ of the Harvard University Memorial Church. Two contrasting works by Cooman follow -Tenebrae Canticle (2001), exploring ideas of liturgical darkness, and the sprightly Dawning, a birthday portrait for a friend. Two historical recordings made in 1979 at Sydney's Christ Church St. Lawrence capture the ambience of this location as Colin Sapsford directs the choir in settings by Tomas Luis de Victoria (1548-1611) of Missa O Magnum Mysterium and a Good Friday Hymn. Bartlett's own Ceremonial Te Deum (1988) is heard, as sung by choir and organ at a special service of Morning Prayer, at St, Andrews Cathedral, Sydney, in the presence of the Prince and the Princess of Wales, during the 1988 Bicentennial celebrations. In secular mode, Gross contributes two works: Rondino Pastorale for flute and Plectrum Ensemble (1962), and Prefatory Sonnet (1984) one of 3 Songs for soprano or tenor, clarinet and piano, in this instance sung by Anthony Walker. Strahan's Atlantis Variations for Solo Piano, Pt. 2, (1992) is one of several works developing material for a proposed 4-opera cycle on Atlantis, this one centred around the character of Calypso, a rebellious daughter of Atlas. The CD closes with Carr-Boyd attractive miniature for piano, Maladies Of Love (1982). Track list: - with more details about each piece and the performances. Prelude and Meditations by ROBERT ALLWORTH (b.1943) Tracks 1 - 7 were recorded by CARSON P. COOMAN in the Memorial Church at Harvard University, USA on the ISHAM MEMORIAL ORGAN on the I7th of May 2002 for the 60th Birthday year of the Composer. Track 1- PRELUDE FOR THE MOST HOLY NAME OF JESUS AND SAINT GEORCE AND THE DRAGON. The organ prelude,composed in 1990, is derived from two themes in the slow movement of the composer's orchestral work PLATEAU which was recorded by PATRICK THOMAS conducting the OUEENSLAND SYMPHONY ORCHESTRA in 1974. MEDITATIONS OF EARLY ENGLISH SAINTS (1990) Track 2 - SAINT GILES AND SAINT CHAD. Saint Ciles - ninth century, with 150 Churches dedicated in his honour, in Great Britain. He is the patron Saint of Cripples and the Indigent. Saint Chad - Bishop in Northumbria,died in 672 at Lichfield where he founded a Monastery. Track 3 -SAINT RICHARD OF CHICHESTER. Bishop l244,died at Dover, 1253. He became Chancellor of his University. SAINT THOMAS OF HEREFORD, Bishop at Hambleden in Buckinghampshire, died in 1282. Educated at Oxford and ordained a priest by Pope Innocent IV. Track 4 - SAINT DUNSTAN, Bishop, born near Glastonbury in 909. He restored monastic life at Glastonbury which had ceased to exist since the Scandinavian invasions. In 959 he was made Archbishop of Canterbury. SAINT CUTHBERT, Bishop, died 687, buried at Lindisfarne. His remains were removed after the Viking Raids. His remains were placed in Durham Cathedral. Ln 1827,the Medieval shrine was rediscovered in Durham Cathedral. Track 5 - SAINT CHARLES died in 945 at Glastonbury. A monk who had visions of the Holy Family. Many miracles of healing have been attributed to this saint. SAINT ALBAN is venerated as the First Martyr in the Island of Britain. He was martyred in 209. Track 6 - SAINT JOSEPH OF ARIMATHAEA. First century. The Apostle Paul sent Joseph to be a missionary in the Island of Britain, whose first church he founded at Glastonbury. SAINT WILLIAM OF NORWICH died at Norwich in 1144. William was venerated locally as a martyr, after his mutilated body was found in a wood outside Norwich. He was 12 years old when he died. Track 7- SAINT ROBERT OF NEWMINSTER died 1159 He was accepted by Saint Bernard of Clairvaux into the Cistercian Order and then at Newminster. SAINT PETER OF SALISBURY died in Kent in 542. He was an assistant of the Augustian Friars, founded in 520. Tracks 8/9: Two Works for organ by CARSON P. COOMAN performed by the composer on the ISHAM MEMORIAL ORGAN in the Memorial Church at Harvard University, USA. Track 8 - Tenebrae Canticle (2001) was written for Rochester Christian Reformed Church and an Advent 2001 service Of darkness. Lt is a work exploring ideas of liturgical darkness, inspired by a verse from the Psalms (I8:11): He made darkness his secret place, his pavilion round about him were dark waters and thick clouds of the skies. Track 9 - Dawning (2002) for Organ was written for and is dedicated to Sandra Gay, on her birthday. The work is vibrant and vital (a personality portrait). Two fast outer sections surround a slower, more lyrical one. HISTORICAL RECORDINGS OF TWO WORKS BY TOMAS LUIS DE VICTORIA (1548-1611) MADE IN CHRIST CHURCH ST. LAWRENCE, SYDNEY, AUSTRALIA. Track 10 - KYRIE ELEISON - GLORIA IN EXCELSIS DEO from MISSA O MAGNUM MYSTERIUM Performance: Choir of Christ Church Saint Laurence Conductor - Colin Sapsford. Soprano - Diana Sapsford, Alto - Lyn Moffat, Tenor - Charles Dale, Bass - Neil McEwan.(Track to recorded in 1979) Track 11 - GOOD FRIDAY HYMN - THE ROYAL BANNERS FORWARD GO - translated by J.M. Neale from the Latin of BISHOP VENANTIUS FORTUNATUS, 530-606.Tune: ANDERNACH from the ANDERNACH GESANGBUCH .1608. Sung by the Choir and Congregation of Christ Church St. Laurence. With Colin Sapsford at the organ. Track 12 - CREMONIAL TE DEUM (1988) by LAWRENCE BARTLETT (1933-2002) Performance: Choir of St. Andrews Cathedral conducted by Michael Deasey, Bransby Byrne, organist. Lawrence Bartlett was for many years rector of St. Michael's Anglican Church, Vaucluse, Sydney, Australia, and also preceptor at St. Andrews Cathedral, Sydney. He composed a considerable amount of fine choral and organ music, including this work which was composed as part the Australian Bicentennial celebrations of 1988. It was sung at a special service of Morning prayer, in the presence of their Royal Highesses, Prince Charles, and the late Princess Diana. Track 13 - RONDINO PASTORALE OP. 33 (1962) by ERIC GROSS (b.1926) Performance: Michael Scott, flute and the Sydney Mandolins. A brief work designed to convey a relaxed, pastorle atmosphere. Originally composed as a piece for flute and harp, and subsequently arranged by the composer for various other instrumental combinations. Track 14 - PREFATORY SONNET OP. 139/1(1984) by ERIC GROSS (b.1926) Setting of a poem by Henry Kendall Performance: Anthony Walker, tenor, Ingrid Pearson, clarinet, Peter Maddox, piano. ATLANTIS VARIATIONS FOR SOLO PIANO PART 2 (1992) by DEREK STRAHAN (b.1935) Derek Strahan, piano Composer's notes: Written in 1992, Atlantis Variations for piano (in 3 parts) is one of four works written developing material for use in a proposed 4-opera cycle dealing with antediluvian civilisations of antiquity. Musical ideas for the third opera, Calypso In Exile, are developed in Atlantis Variations Part 2, heard here. Part 1 develops ideas for the second opera, and Part 3 for the final opera in which Atlantis- Shop: odax
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Tanya's Island
Tanya (Vanity), and her lover, Lobo escape to the solitude and tranquility of a deserted tropical island. Soon, Tanya begins to explore her new found paradise. During one trip into the jungle, she discovers and eventually befriends a gorilla-like creature. A vicious rivalry develops between Lobo and the creature, "Blue." Lobo now takes on animal characteristics. He takes Tanya prisoner and begins a campaign to kill Blue. Meanwhile, the beast, who has observed Tanya and Lobo at work, play and lovemaking, now begins to develop human traits - and needs! Tanya is caught in a fierce battle between man and beast for total possession of a beautiful woman.- Shop: odax
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Black Violet Act 1: The Leagues of Despair
'Twas the Year of Our Lorde, Two Thousand and Nine... On a brisk early autumn evening in downtown Chicago, boundary-pushing chamber group Fifth House Ensemble and acclaimed graphic novelist Ezra Claytan Daniels unveiled the first act of the mysterious collaboration that had each party bound diligently to their drawing tables, computers, and sheet music for months prior. To curious peers, BLACK VIOLET was a difficult thing to describe during those months. Part chamber concert, part graphic novel, part epic silent film, the project was one that stretched the limits of each form toward something wholly new and uncommonly ambitious. The collaboration began with a uniquely compelling idea to create a visceral and accessible format through which an audience could connect in new ways with an otherwise traditional chamber concert. Fifth House recruited Daniels to help realize their vision, and he brought to the project the seed of a story inspired by the superstitious persecution of black cats during the last outbreak of bubonic plague in 17th century London. Starting with a small library of potential pieces, Daniels worked closely with Fifth House not only to program the music for the concert series, but to create a cohesive emotional narrative using movements from disparate pieces culled from various periods, regions and schools. This would be the structure upon which Daniels would pen a narrative driven as much by his own creative whims as the emotional cues in the music, music, in fact, written sometimes centuries before he was even born. 6 months and countless man-hours later, on that cool autumn evening in the City of Big Shoulders, Fifth House Ensemble and Ezra Claytan Daniels premiered an unprecedented entertainment experience. Performing to a capacity audience in the historic Chicago Cultural Center, the music of Brahms, Piston, Villa Lobos, and others came to life in ways it never had before: A series of vibrant and intricately detailed graphic novel panels, timed precisely to the playing of the orchestra, painted the world of Violet, a posh young black cat living a life of pampered ignorance in the decimated London of 1665. As the curtain closed on that performance, it's creators knew the next 6 months would be no easier than the preceding, as they went straight to work at creating Acts II and III of Violet's adventure, which the Chicago Sun-Times would dub nothing less than "a modern classic". But so does not end Violet's story, as Fifth House Ensemble continues to perform the concert series across the country, and creator Ezra Claytan Daniels has begun work on taking Violet's story to an exciting new level... Fifth House Ensemble Truly an ensemble for our time, Fifth House Ensemble is defined by it's limitless imagination and energy with an insatiable desire to bring chamber music to audiences of all types. Praised by the New York Times for it's 'conviction, authority and finesse,' 5HE harnesses the collaborative spirit of chamber music to create transformative cross-media performance experiences that bring together elements as diverse as storytelling, physical theatre, graphic novels, and fashion design. With humor and joy, 5HE breathes life into repertoire both established and emerging, equally at home on the most prestigious stages and unexpected venues including aquariums, train stations, and bars. Bringing it's signature connective programming from the stage to the classroom, 5HE develops young audiences through curriculum-integrated interactive concerts and residencies for students K-12. Responsive to the needs of young musicians in today's marketplace, 5HE also shares it's experiences as a creatively-managed ensemble through higher education workshops that train the next generation of artists in career development, creative presentation, educational outreach, and more. Ezra Claytan Daniels Ezra Claytan Daniels is a writer and illustrator based in Chicago, IL. His critically acclaimed graphic novel series, The Changers, began a unique comics career peppered with a number of collaborative multimedia projects including the groundbreaking experimental iPhone App, Ruben & Lullaby, and the upcoming 'immersive' graphic novel, Upgrade Soul. Ezra is also the creator of the popular live art spectacle, The Comic Art Battle, and Loaded Blanks Greetings, a line of fill-in-the-blank comic-art greeting cards featuring both established as well as up and coming comics artists. His work has been published by Dark Horse Comics, and his illustrations have been featured on the covers of the Village Voice Chicago Reader and The Portland Mercury.- Shop: odax
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Felt Hammer Improvisations, Vol. 1
Liner Notes: Felt Hammer Improvisations, Vol. 1 Music by Paul Astin (piano) and Peyman Hedarian (santur) Today I flew in from Greece to London. As we taxied to a standstill the musics on the inflight stereo were well-known songs by the famous Rebetiko composer Vassilis Tsitsanis. Delightfully attractive music, enough to lift the heart after a tiring journey. But problematic. It was played on a piano. The piano plays on tempered scales. On a piano you cannot play the microtonal intervals that originally sat at the heart of Tsitsanis' music. Myself, I play the diminutive Greek baglama, and my instrument (with tempered-scale frets) has exactly the same problem. This tension between the microtonal intervals of Anatolian music and the do-re-mi of the Western scales is the salt and pepper of Rebetiko. It happens that Peyman Heydarian and Paul Astin are good friends of mine. We share a fascination with modal music, and it is the research and practice of Greek Rebetiko that originally brought us together. So when I arrived home in the early hours with a head full of microtonal questions (I was reading al-Farabi and Safi al-Din al-Urmawi and their reworkings of the Pythagorean scale en route) it was a shock both delirious and delicious to find the 18 files of this improvisatory adventure sitting in my in-box. Not Rebetiko, not Anatolian, not Western, rather something new. Recorded in Los Angeles. Two musicians - an American and an Iranian. That in itself symbolic in our troubled times. But doubly symbolic in the meeting of their two musical cultures. Actually, no, it is more than that. The musical cultures of these two men extend through time and across spaces to a diversity of inspiration. My idea of heaven includes two special corners - Astin pumping out the angular rhythms of black bebop when he played Thelonious Monk tunes on a grand piano that I procured for him when we met in Greece... and Heydarian when we sit in a corner of a London venue on a dark November evening and rattle through the pulsing rhythms of Irish reels and jigs on both fiddle and santur. There is a sympathetic rapport between the musicians, both dynamically and rhythmically. Heydarian plays the 9-bridge (salari) and 11-bridge (baziar) santur, tuned closely to the Western keys of F and D respectively, while Astin plays a Yamaha C7 acoustic grand piano. Many of the tracks stay within the parameters of the santurs' tunings, though a few move beyond these confines, resulting in a mix of tonal and atonal improvisations. Astin, having a jazz background, uses bass tones such as the fa, creating a harmonic framework with a raised 11th (the Lydian scale). Heydarian is not generally put out by such explorations, which differ sharply from traditional Persian or maqam (modal) music. In addition to performing, Heydarian develops computer algorithms to identify musical modes in recorded music. Not surprisingly, many of his melodic ideas blend phrases from Persian, Kurdish, Greek, and Celtic songs. To preserve the integrity of this session, the pieces are presented in the order in which they were recorded. No tracks have been deleted and there were no second takes. This is the complete session. Towards the end of the recording, Astin reaches inside the piano, using his hands to strum, dampen, and strike the strings, while Heydarian uses the tail of his hammer and also plays sequences in the untuned fourth region of the Santur. In addition, Heydarian introduces novel tunings on his instrument. This collaboration is a daring step. The music made by our two musicians is not pre-notated. It is improvised. It is dangerous. It is a conversation between musical languages in which commonalities and differences are explored - sometimes tentatively, sometimes boldly - and a discourse is produced in which you and I can share. While the musicians possess a deep understanding of their unique genres, together they create something quite unlike what one usually hears from the santur or piano. Pythagoras and Euclid theorised their scales on the single string of a monochord. The ratios that they established were conceived as a harmony of the spheres, the elements, the humours and all things divine and mundane. The simple monochord then took a notion to elaborate itself. One string became two, and then four, and eventually multiplied to the point that gave us the santur in the East and the piano in the West. An astonishing world of art music was created through hitting these strings with small felt hammers. And that is the world that is explored in this collection of tunes. Ed Emery Institute of Rebetology London, England.- Shop: odax
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Jerusalem
Singer/songwriter Ellen Soukup's latest CD called "Jerusalem," which came out in November of 2009, is her first album since "The Truth is There" was released in 2003. "I would have done this probably sooner, but my husband and I decided to use the money to redo our kitchen," she laughed. There were advantages to the delay. Ellen said she wrote most of the songs between 2003 and 2005. So, by the time she sat down in the studio to record them, everything came easily. "During the hour-long drive to the recording studio, I prayed the rosary, and when I got there, I could just sing like crazy," she recalled. "I was able to record piano and vocals for eight songs in one day." Her producer, J. Scott Gaeta, was astounded. Typically, a singer might only be able to record one or two songs in a day. Ellen is eager to give the credit to the Holy Spirit, and not only for her successful recording session. As she analyzed her songwriting process, she admitted to relying heavily on the Holy Spirit as she develops a song. "Sometimes I come up with words first, or a statement...other times I start with the melody," she said. "I totally let the Holy Spirit take over...I don't feel I'm equipped and good enough at doing it on my own." For example, one of the songs on her new album, "Fortune," began with a statement Bishop Fabian Bruskewitz of the Diocese of Lincoln, Nebraska, made during conference she had attended as the music leader. "He said, 'Someone died and left you a fortune. We have been redeemed by our Lord Jesus Christ,'" Ellen remembered. She immediately dug a scrap of paper out of her purse and jotted it down. The words stayed in her mind - and her purse - for weeks. A couple months later, she asked the bishop's permission to turn it into a song, and he agreed. More statements were scribbled onto the paper, which graduated to a position on Ellen's piano. Musical notations were penciled in above lyrics. As the months went by, the song took shape and made it onto the album. Ellen said that this new album is, "the most true to myself and my faith than my other recordings." She explained that while she was working on her previous albums, she wanted to be appealing to a wider Christian audience. "I used to worry, 'Maybe people of other religions wouldn't like that song...' But a lot of people of different faiths said their favorites on my other CDs were what I considered my most Catholic songs, so I decided to do what feels best." Consisting mostly of original compositions with a couple of new arrangements of traditional spiritual songs, the album is titled "Jerusalem," after Ellen's favorite of the 11 selections. "'Jerusalem' is about looking all around at the beautiful things God has made and realizing that heaven is so, so, so much better," Ellen smiled. Other songs address different kinds of issues. "Someday" is an impassioned plea to a family member who had left the Church. "Settling Down" is about making a Holy Hour. Ellen's song "Peace" uses the words of the Prayer of St. Francis of Assisi. Knowing there are several different versions of that prayer, she researched carefully for the most authentic version. The only extra work she did on the lyrics was some minor changes to make the words fit the melody. Other songs include her arrangements of "His Eye is On the Sparrow," which Ellen sang when she was a college student and member of the Scarlet and Cream Singers (a show choir at the University of Nebraska- Lincoln), and "Give Me Jesus." Students at St. John the Apostle elementary school in Lincoln, where she teaches music two days a week, were excited about one song in particular, because they are Ellen's back-up singers. "It's based on Archbishop [Fulton] Sheen's Prayer for Life," she explained. "I wrote that one for the kids at St. John's to sing on First Fridays, so I recorded it with the kids singing with me." Ellen's teenaged daughter, Carolyn, and her husband, John, also sang back-up for a number of the songs. Full instrumentation was provided by her producer, and several other people contributed to the project. "Jerusalem" is a dynamic collection of songs that range from prayerful reflection to gospel-inspired melodies. Listeners will experience the heart and soul of this evolving singer/songwriter. "I just hope that when people hear the album, they'll feel uplifted and prayerful," said Ellen. "I want them to hear and feel the Holy Spirit through these songs, because He's worked through me."- Shop: odax
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The Vanishing Shadow
VCI is pleased to present this classic cliffhanger from Universal Pictures, which has never had an official video release on any format, now available for the first time on Blu-ray and produced from the original studio film elements! A 12-episode Universal serial in which a son avenges the death of his father at the hands of corrupt politicians. He develops a wide variety of complex devices in his crusade... ray guns, robots and a 'vanishing belt.' Note: The serial features what is believed to be the first appearance of a hand held ray gun in film.- Shop: odax
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Ridin’ On
A blood feud develops into an all out war on the prairie.- Shop: odax
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Larry Crowne
Academy Award winners Tom Hanks and Julia Roberts come together for a romantic and optimistic comedy about how it's never too late to reinvent yourself. When he suddenly finds himself without his long-standing blue-collar job, Larry Crowne (Hanks) enrolls at his local college to start over. There, he becomes part of an eclectic community of students and develops a crush on his teacher (Roberts). Now this simple guy will discover that when you think everything worth having has passed you by, you just might find your reason to live.- Shop: odax
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Love Songs & Other Trios
Reviewer Kevin Lynch of the The Capital Times/Wisconsin State Journal wrote of this CD: 'By the time Camplin sang 'I've Seen Trouble,' I could feel my heart aching right through my shirt. You pay a small price to hear this man's voice. I once characterized it as the voice of a fallen angel. After hearing Camplin's long-awaited CD of 12 originals, I know more of what I meant. His voice is a glimpse of a private, forlorn hell. But Camplin's shining baritone keeps his spirit more sweet than bitter. He knows that these qualities can get stuck in neutral, so he invariably drives the music forward with his own rhythm guitar and the crackling jump starts of lead guitarist Jason ''Doet'' Klagstad, a contrapuntal momentum that sustains you through the album's predominant quietude (also featured are bassist Steve Kleiber and string player Randy Sabien). That energy also helps boost Camplin's lyrics, which often flash pure poetry: 'You are a danger disguised as a breath of spring/ And after all we're bound to fall and doing it with no shame.' Camplin carries the weight of too many losses, a bit like this past year's Green Bay Packers. But he's a wandering spirit, beholden to nobody's rules. And yet he sings in one song, 'I Still Need Someone'. The songs rummage through the human condition, turning up archetypes like 'Old Man', or loved ones like 'The Daughter', with lyrics like 'raised on whiskey and flowers, born with hope and with shame, conceived by chance and deception'. There are still traces of Bob Dylan -- and even Lou Reed -- in Camplin's tender toughness. Check out the brilliantly rolling cadences of 'Long and Desperate Day'. It's also gratifying to hear him 'speaking to your shadow' on 'January Guitar', reprised from his very first album, 'January', from 1971. Sit back with a glass of wine on a wintry night with someone close and slowly drink in this music.' ***************** BIO Born after doctor recommends that Clara have another baby to give her something to do... This after already having given birth to 5 children... Feels so good she has another. (#6)Hears Ave Maria in the cradle...produces predilection for weepy ballads. Lives normal childhood on a dead end street...on lake...next to railroad tracks. Stays outdoors nearly all day in the summers... Hears 'It's My Party and I'll Cry If I Want To...' Develops standards with regards to weepy ballads. Time goes by... A Teacher discovers him... He serves his detentions... Encounters another teacher who invites him to sing. Goes to fields and factories in no particular order... Dreams the unoriginal dreams of the young... And is tempted by music. Gives in. Begins writing songs in vain attempt to gain control of content... Has fun in spite of self...receives some recognition... And has to write his first bio. Decades pass. Still following the muse...but not much temptation to speak about... Still abusing four syllable words...like oligarchy...like epiphany... Living normal adulthood. A nuclear family...two autos...but no partridge. Singing late at night in the café... Buffing and polishing in a haphazard way... The detritus of an unseen boulder. Meeting more people than there are separate names for. Hearing so many voices...hearing so many voicings...when overwhelmed... Keep singing. Live and learn...oh that's not original? Speaking of which... A bio is a collection of lies... I wish them to be somebody else's. [Don't discuss yourself, for you are bound to lose, if you belittle yourself, you are believed, if you praise yourself, you are disbelieved. -Michel de Montaigne, essayist (1533-1592)]- Shop: odax
- Price: 26.30 EUR excl. shipping
