26 Results for : eschew

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    Most come to The Beaudelaire Hotel a select few times a year merely to indulge in sexual fantasy, but the stakes are higher for Karen Freeman and Paul Beaudelaire this New Year's weekend. Karen is nine years post-op from a double mastectomy, and her vain ex-husband hadn't agreed with her decision to remove her remaining good breast or to eschew reconstruction. In the end, that decision cost her. She lost her marriage, but she's certain the move has prolonged her life. Returning to a normal dating and sex life has been difficult. She hasn't made love fully unclothed since the demise of her marriage, and her most significant relationship occurred right after her surgery. When she was still recuperating, she had an affair of the heart with a Marine amputee who'd also been her Ph.D. classmate. Paul Beaudelaire once led a charmed life as a ladies' man who had his pick of women in the upper echelons of New Orleans society. He'd been satisfied to continue in that vein, until a Marine recruiter wooed him from LSU with tales of valor, courage, and commitment. His career in the corps cut short by the loss of his left leg, Paul returned to New Orleans with the best prosthesis Johns Hopkins orthopedics experts could fit him with. The problem was, he'd left his heart in Baltimore with a beautiful former model, whose crippled marriage was the only deterrent to his waning honor. Will this fantasy weekend at his Uncle Henri's hotel give him a second chance with his contemporary Amazon, or will her fear of rejection be a barrier to their reconnection?Other Den of Sin titles:Shamelessly Taken: A Den of Sin Vignette by Mel BlueTwo Strikes: A Den of Sin Vignette by Holley TrentForbidden Rendezvous by Mel BlueMénage à Troys: Book 2 by Holley TrentWicked Surrender: Book 3 by Ambrielle Kirk ungekürzt. Language: English. Narrator: Marie Hélène. Audio sample: https://samples.audible.de/bk/acx0/016956/bk_acx0_016956_sample.mp3. Digital audiobook in aax.
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    Are you looking for an incredible diet full of protein? Then keep reading.…Is the carnivore diet right for you? Does the idea of only eating meat and other animal products sound like something you could do? Better yet, does it sound like something you would want to do? We all know someone who doesn’t care much for green leafy things, and if that someone is you, the carnivore diet might be just the ticket. This is the diet for people who hate the word "diet" and love a nice steak. The “diet” is simple enough - it’s all in the name! The carnivore diet is designed to have you totally subsist on fatty meats, especially meats like beef, lamb, goat, venison, or pork. Processed meats like sausage, salami, pepperoni and other deli meats can be eaten, but not if they have any fillers, so reading labels becomes increasingly important. Other meats, like fish, chicken, and other, potentially exotic, meats like elk, rabbit, and bison are all on the list, although some of these meats are low fat and will need to be supplemented or cooked in a manner that adds fat. So long as you are not lactose intolerant or suffer from any other similar ailments, dairy items like milk, butter, hard cheeses, and heavy whipping cream are also allowed, but some proponents of the carnivore diet eschew these additions, only focusing on the meats. Remember that this diet is designed to have you consuming fat alongside the meat, and if you are consuming lower fat meats, feel free to increase the fat using lard, ghee (a clarified butter product often used in Indian foods), or duck fat. Season the food with any non-plant derived spices that you desire, so long as you aren’t breading them or adding cornstarch for frying. Sodium is highly present in a lot of processed meats but be sure to include sodium in your cooking of other meats to prevent cramping muscles and to keep your electrolytes high. As far as drinks are concerned, you should consume a large quantity of ungekürzt. Language: English. Narrator: Nick Rending. Audio sample: https://samples.audible.de/bk/acx0/202416/bk_acx0_202416_sample.mp3. Digital audiobook in aax.
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    THE 30TH ANNIVERSARY EDITION OF MARTIN GOODMAN'S WHITBREAD SHORTLISTED NOVEL'Goodman writes with flare and panache, and the narrative fizzes along. Goodman's novel soars.' The Times 'A perceptive, moving novel. Martin Goodman takes fierce delight in cutting through the easy cliches about the "new" Europe.' Christopher Hope'Goodman's quirkily charming novel interweaves a young man's search for selfhood in provincial Britain with the mysteries of his mother's German past. ~ Natasha Walker, VogueThe Second World War is over, but the Europe's wounds have not yet healed.Tomas is half-German, he is taught by English war veterans. He walks the ruins of Coventry with his English Gran, the city still crumbling from the blitz.When he nears adulthood, Tomas goes to Germany to stay with his blind uncle. The enigmatic old man was once a German soldier. They explore the drastically changed Berlin, leading one another to places new. Out in Dresden, a city decimated by Allied firebombs, Tomas has more family still. What might a young man make of all this?ON BENDED KNEES explores the inheritance of war guilt in a post-war Europe. It considers how the next generation can reconcile the sins of the last; a timeless dynamic in the modern world.What might we inherit from the wars of our elders, and how might we move on?'The emotional tact of Martin Goodman's ON BENDED KNEES slips down like a milky cuppa. Yet Goodman's plot unfolds against a backcloth of even deeper red. Tomas grows up with his German mother in the postwar Midlands, a place of oozing war-wounds where a gung-ho film or a World Cup tie can split his heart in two. "We carry old deaths within us," warns his dying teacher and Tomas must turn pilgrim in Dresden to make peace with his family's past. This quiet and subtle study of reconciliation tends to stick with English understatement and eschew German grandeur. No matter, Britain has squads of youngish writers trained to squeeze the last drop of moral juice out of the Second World War and its aftermath. It takes a braver soul, like Goodman, to hint that postwar babes should try instead to lay these ghosts to rest.' The Observer'A professional combination of rite-of-passage novel and cultural quest.... Berlin is brilliantly seen through the hero's eyes, as is the character who effectively steals the novel, the blind and autocratic Herr Poppel. The novel comes most to life when Tomas and Poppel are taking their walks around the divided city's streets and parks... A very impressive debut.' Colin Donald, The Scotsman
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    This fascinating recital takes us on a tour of some of the less-frequented byways of the piano world, and into a repertoire all too often missing from our concert halls as modern performers and promoters eschew the 'frivolity' of such works. Yet these are the very pieces which were the meat and drink of the grand masters of previous centuries.
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    Bass World magazine n° 33 Sounding Board The Dark Side of the Bass Francesco Fraioli, double bass Francesco Buccarella, piano N.B.B. Records NBB23 2009 The dark Side of the Bass features stunning performances by Italian double bassist Francesco Fraioli with Francesco Buccarella on piano. The CD includes three sonatas for double bass and piano by the composers Vilmos Montag, Hans-Peter Linde and Paul Hindemith. On the first track, the first movement (Allegro moderato) of the sonata by Vilmos Montag, Fraioli establishes his wide range of dynamic expression and depth of lyricism. Clearly, he is very influenced by one of his teachers, Francesco Petracchi.The entire work demands a legato tone that must be maintained over the wide register and over string crossings. Fraioli's agile shifting and string crossing technique allows him to maintain the dramatic and intense lyricism that score demands. Aided by the recording engineer's decision to utilize a close mic, he is able to clearly articulate every note of the rapid gestures while sustaining his lyricism throughout. However, it was very surprising to hear him occasionally negate his best qualities by opting to perform some of the spiccato passages very off-the-string. Fraioli's pizzicato tone is supportive, deep,very sustained, rich in overtones, and most importantly, dark in timbre. This is especially true at the end of the first movement. Perhaps his dark, rich timbre is what inspired the title of the CD. Despite the close mic, which favors clarity of fundamental frequencies and transients of the envelope more than the overtones of the bass, I'm even more impressed at how Fraioli was able to achieve such dark timbres under these circumstances. The Vilmos Montag Sonata was composed in 1967, but it's careful chromaticism and restrained emotion will remind the listener of the conservative romanticism of the cosmopolitan French tradition of the late 19th century. In other words, if you liked César Franck's Sonata for Violin and Piano, you will like the Montag. The effective writing is very idiomatic and does not confront the double bassist with unreasonable and unmanageable difficulties. Vilmos Montag wrote the Sonata for his brother, Lajos Montag, a double bassist. The Sonata by Hans-Peter Linde, also written in 1967, will immediately remind listeners of the music of Shostakovich, especially the fugato section of the first movement. Also, like much of the music of Shostakovich, the Sonata by Hans-Peter Linde successfully walks the tightrope between the two extremes demanded by late 20th century audiences. It is accessible to the casual listener, yet the work can also satisfy the more sophisticated listener who also wants to analyze the work on multiple levels. Fraioli's approach on the Linde Sonata differs from the Montag. It is much more passive, careful, and in some places, even introspective in nature. The approach is cautious, carefully studied and rigorously appropriate. It is absolutely à propos for the mood of the Linde Sonata. There are formidable double stops in the third movement, and Fraioli executes them with poise and precision. The final sonata on the CD is Paul Hindemith's Sonata for Double Bass and PIano (1949). Fraioli realizes this venerable staple of 20th century repertoire with distinctive lyricism. Both Fraioli and pianist Francesco Buccarella eschew the traditional, misguided practice of square, mechanical and cold phrasing that has often plagued performances of the Hindemith Sonata. From the first sustained note, Fraioli shapes each note with sensitive detail drawing from his expressive vibrato and his command of the lyrical strokes in his right-hand bowing technique. The interpretation is fresh and classic all at once. The recording engineers Lorenzo Gerace and Stefano Cappelli are to be commended for their recording of the piano and double bass in an unusual space that would normally invite unwanted resonances and distortions of the sound waves. Not only did they compensate for such an unfavorable environment, they were able to allow the reverberations of the hall to appropriately color the sound of the double bass and piano. The balance of the double bass and piano in terms of volume and frequency distribution across the spectrum allowed for a unification of the two instruments as a chamber ensemble and ultimately empowered the musicians to produce a recording that is both transparent and ideal. -review by Jeremy Baguyos ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------ The dark side of the bass project aims at emphasizing the "hidden" assets and qualities of the double bass, on the one hand highlighting the instrument's enthralling poetic aspect while on the other hand stimulating interest in it's repertoire. Conceived together with Luca Aversano, lecturer in the history of music at the DAMS department of Roma Tre University College of Liberal Arts, the project's relationship with the academic world has proved so fruitful that it has transcended the mere cultural level and lead to the shared use of a physical space. In fact, the university's main hall was transformed into a recording studio that hosted both the musical performances and the recording sessions. Relying on the technical mastery and performance skills of Francesco Fraioli on double bass and Francesco Buccarella on piano, The dark side of the bass features works by Vilmos Montag (Sonata in E minor, 1967), Hans-Peter Linde (Sonata in E, 1967) and Paul Hindemith (Sonata, 1949). Besides their being paradigmatic examples of twentieth century music, the artistic style of double bass, as brought into play by these works, has proved a valid testing ground for daring musical experiments, whilst allowing for the creation of refined aural moods. One of the highlights of the CD, for both it's cultural and historical relevance, is the premiere recording of Hans-Peter Linde's Sonata in E (1967). Furthermore, the author has even agreed to be personally involved in the project by providing an introductory note to the sonata for the booklet accompanying the CD. Luca Aversano ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------Vilmos Montag, sonata in e minor for double bass and piano (Ed. F Hoffmeister, 1967) Vilmos Montag was born in Budapest February 16, 1908. A student of V. Kladirko and N. Zsolt, he received his diploma in violin at the music high school in Budapest. Later, he graduated in orchestral conducting at the national conservatory. At the same time, he studied composition with L. Lajtha and graduated with honors (Franz Liszt award). At the age of 20, Montag joined the Budapest Opera orchestra as well as that of the philharmonic society. In 1957 he moved to Sweden where he continued composing and where he died in 1991. His musical production consists of pieces for piano solo, a method on piano playing, 5 cadenzas written for the classical concert repertoire, orchestral works, chamber music and a mass. The sonata for double bass and piano in e minor, composed in 1967, is a product not only of musical inspiration, but of family alliances, as well. In fact, it was his brother Lajos Montag who asked him to compose a piece for the double bass. Lajos was a first rate double bassist and composed considerable music as well as a didactic method for the instrument. The part of the double bass in this sonata is transposed a step down from the normal pitch, except for the lowest string. The three higher strings are raised a whole tone according to the classic tuning of Bottesini, while the bottom e-string remains the same. The result is a mixed tuning which opens up new melodic possibilities. Instead of the normal perfect 4th intervals between the strings: e-a-d-g, we now have e-b-e-a. A perf
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    Chopin's Second Sonata and four ballades are among his greatest works. Heroic and original, they sorely tested the composer's contemporaries. Musical pioneers have always received short shrift, and Chopin's breaks with convention meant that the fiery intricacy of the Fourth Ballade's coda and, most of all, the chilling enigma of the Second Sonata's finale provoked puzzlement and hostility, even in composers of Schumann's and Mendelssohn's stature. For Mendelssohn such music went too far, while Schumann asked, When is a sonata a sonata?If any pianist is equipped to eschew obscurity for lucidity it is Emanuel Ax: like his mentor, Arthur Rubinstein, he dismisses all notions of neurosis. For Ax, as for Rubinstein, Chopin's was a noble rather than a morbid soul. A richly comprehensive pianist, Ax has a grandeur, ease and naturalness that make him a consummate musical truth-teller: one whose playing - uninflated, unglitzy - is of an aristocratic essence.
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