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Breaking Generational Curses & Pulling Down Strongholds , Hörbuch, Digital, ungekürzt, 316min

Learn to use the mighty weapons of spiritual warfare God has provided every believer in Christ - weapons that have divine power to demolish spiritual strongholds in believers' lives!If you are living under what feels like a curse, or are unable to overcome problems that also plagued your parents, grandparents, or other ancestors, or if you seem to be experiencing more defeat than victory, and you desperately desire to reverse this trend in your life, the message in this book can help you!Even if you are a born-again, spirit-filled believer, there can still be areas of your life in which you have no or little victory due to the operation of a powerful stronghold of our spiritual enemy. It might be an addiction or destructive habit, uncontrolled anger, sexual sin, depression, or fear. Regardless of what it is, this book will show you how to identify curses and strongholds operating in your life, and how to defeat and destroy them through the supernatural power available to every believer! Jesus revealed that when believers discover know the truth of the holy spirit, that truth will set you free of whatever it is that is binding you (John 8:32, paraphrased).This book will help you discover the real truth of the source of the curses and strongholds that have been plaguing you, and how to defeat and eliminate them from your life once and for all!The audiobook for this title corresponds to the Kindle version of the book published by Real Truth Publications and was produced by Real Truth Publications for release in 2021. ungekürzt. Language: English. Narrator: Vito Rallo, Patricia Rallo. Audio sample: https://samples.audible.de/bk/acx0/233645/bk_acx0_233645_sample.mp3. Digital audiobook in aax.

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56 Fables of la Fontaine: Aesop French short stories, Hörbuch, Digital, 105min

The Fables of Jean de La Fontaine were issued in several volumes from 1668 to 1694. They are classics of French literature. The Fables supply delights to three different ages: the child rejoices in the freshness and vividness of the story, the eager student of literature in the consummate art with which it is told, the experienced man of the world in the subtle reflections on character and life which it conveys. The Fables were regarded as providing an excellent education in morals for children, and the first edition was dedicated to the six-year old Dauphin, the Eldest Son of the King. Eventually the fables were learned by heart for such entertainments and afterwards they were adopted by the education system, not least as linguistic models as well. Most famous Fables are The raven and the fox, The frog that wished to be as big as the ox, The city rat and the country rat, The wolf and the dog, The lion going to war, for example. The Fables were adapted from classical fabulists like Aesop. The subject of each of the Fables is often common property of many ages and races. What gives La Fontaine's Fables their rare distinction is the freshness in narration, the deftness of touch, the unconstrained suppleness of metrical structure, the unfailing humor of the pointed the consummate art of their apparent artlessness. Keen insight into the foibles of human nature is found throughout, but in the later books ingenuity is employed to make the fable cover, yet convey, social doctrines and sympathies more democratic than the age would have tolerated in unmasked expression. Almost from the start, the Fables entered French literary consciousness to a greater degree than any other classic of its literature. For generations many of these little apologues have been read, committed to memory, recited, paraphrased, by every French school child. Countless phrases fro Language: English. Narrator: Stuart Walker. Audio sample: https://samples.audible.de/bk/cids/000468/bk_cids_000468_sample.mp3. Digital audiobook in aax.

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30 Fables of La Fontaine: Short Stories for Kids, Hörbuch, Digital, 57min

The Fables of Jean de La Fontaine are classics of French literature. They supply delights to three different ages: the child rejoices in the freshness and vividness of the story, the eager student of literature in the consummate art with which it is told, the experienced man of the world in the subtle reflections on character and life which it conveys. The Fables were regarded as providing an excellent education in morals for children, and the first edition was dedicated to the six-year old Dauphin, the Eldest Son of the King. Eventually the fables were learned by heart for such entertainments and afterwards they were adopted by the education system, not least as linguistic models as well. Most famous Fables are The raven and the fox, The frog that wished to be as big as the ox, The city rat and the country rat, The wolf and the dog, The lion going to war, for example. The Fables were adapted from classical fabulists like Aesop. The subject of each of the Fables is often common property of many ages and races. What gives La Fontaine's Fables their rare distinction is the freshness in narration, the deftness of touch, the unconstrained suppleness of metrical structure, the unfailing humor of the pointed the consummate art of their apparent artlessness. Keen insight into the foibles of human nature is found throughout. For generations many of these little apologues have been read, committed to memory, recited, paraphrased, by every French school child. Countless phrases from them are current idioms, and familiarity with them is assumed. "La Fontaine's Fables," wrote Madame de Sévigné, "are like a basket of strawberries. You begin by selecting the largest and best, but, little by little, you eat first one, then another, till at last the basket is empty". Veuillez noter : Ce livre audio est en anglais. Language: English. Narrator: Stuart Walker. Audio sample: https://samples.audible.de/bk/cids/000469/bk_cids_000469_sample.mp3. Digital audiobook in aax.

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Visit to San Francisco's Contemporary Jewish Museum: 'Are We There Yet?' , Hörbuch, Digital, ungekürzt, 40min

The Contemporary Jewish Museum in San Francisco recently offered and continues to offer a unique show that explores (in audio alone) a question with a question: "Are We There Yet?" In an effort to find out about this uniquely special, creative museum, which is known in San Francisco but not even as far away as Los Angeles, let alone the rest of the world, this writer asked a Jewish law legal expert what is meant by asking a question with a question. Rabbi Yitzchok Adlerstein, of Loyola Law School, Los Angeles, who is an adjunct teacher, made these remarks (paraphrased): The Talmud has been a kind of constitution of Jewish living...and the Talmud is neither a code nor a commentary on the Bible. It is a combination of both, including lots of argumentation in support of different views. Very often in the Talmud, you may get a question answered with a question. Is "A" not true; what do you think? There are good questions and not so good questions. When someone asks a question, Talmud study requires that everything be a good question, not a shot in the dark - a way of questioning the seriousness of a question. Answering a question with a question is meant as an analysis of very sophisticated legal thinking. Atlanta Jewish Life magazine called the rabbi "the go-to guy for the media...looking for a sane Orthodox voice for comment". His reasoned approach to issues of faith and life qualify him to be the director of interfaith affairs for the Simon Wiesenthal Center and of Project Next Step at Yeshiva of Los Angeles. He holds the Sydney M. Irmas chair in Jewish law and ethics at Loyola Law School and serves as a faculty member at Yeshiva of Los Angeles in its secondary education program. [Answering a question with a question is] meant as an analysis of very sophisticated legal thinking. In Orthodox life, Talmud study is important and usually starts at an early age. ungekürzt. Language: English. Narrator: Darin Wolfe. Audio sample: https://samples.audible.de/bk/acx0/054525/bk_acx0_054525_sample.mp3. Digital audiobook in aax.

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Original sonnets on various subjects; and odes paraphrased from Horace

Original sonnets on various subjects; and odes paraphrased from Horace: ab 2.49 €

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Galatians: Paraphrased

Galatians: Paraphrased: ab 1.49 €

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Wisdom Calls

Wisdom Calls - The Book of Proverbs Paraphrased: ab 16.49 €

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Fifty Select Passages from the Poetic New Testament and the Complete Book of Mark

Fifty Select Passages from the Poetic New Testament and the Complete Book of Mark - A Modern Paraphrased Translation: ab 9.99 €

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Enchantment: Music By Michael Mauldin

ENCHANTMENT: THREE MEDITATIONS FOR TWO PIANOS was written for pianist Lawrence Blind to celebrate the birth of his twins, Alexandra and William. Larry was my accompanist when I directed the Albuquerque Boy Choir. When I retired from the choir, his first child was "on the way," so I wrote "Going Forth at Dawn with Power" to thank him for his years of service to the choir and to celebrate Wesley's birth. I chose the title of the two-piano piece to reflect the enchantment Larry felt with his babies, and that I felt with nature at "Annacarla." That was the name that Dutch linguist, Elizabeth Willink gave her rambling adobe house near Cuba, New Mexico. In the late 70's, she invited me to stay there on my trips to Chaco Canyon. Twenty-five years after "Willie's" death, I bought the house and restored it as a composing and teaching retreat for myself and my students, and for other music students and guests who enjoy the scenic and spiritual landscape of northern New Mexico. VOICES FROM CHACO: CONCERTINO FOR PIANO AND WOODWIND QUINTET won the 1980 Composer-of-the-Year Competition of the Music Teachers National Association. Dedicated to the memory of another pianist/friend, Paul Muench, the work was written to provide advanced pianists of high-school or college age with a solo work having an instrumental accompaniment of chamber proportions. Centuries before Europeans came to North America, the Chacoans created beautiful cities, accurate solar/lunar markers, intricate artwork, straight roads, and a far-flung trade network. "Voices from Chaco" marked the beginning of my long fascination with these remarkable people. By "time-traveling" a thousand years to a civilization that seemed "at one" with the cosmos, I found a way to be positive in my work. There was also the tragic tone of a great people who dispersed, perhaps because of their overuse or misuse of the land (and maybe of their own power). Though we may never be certain of the reasons for Chaco's abandonment, I sensed that the place held valuable lessons for us. A LITTLE MAGIC was written for an outstanding new boychoir in Oakland, California, the Pacific Boychoir, founded and directed by Kevin Fox. The words were written by Peggy Pond Church, who was best-known for her book THE HOUSE AT OTOWI BRIDGE, excerpts from which I used as the narration for my orchestral suite, "Enchanted Land." Peggy grew up on the beautiful mesas around what is now Los Alamos, New Mexico before her father's boys' school was chosen by the government as the site for atomic-weapon research. I. Prayer Let me live keenly as a lark high-soaring In one swift arc of song across the sky, However brief let my flight be unswerving And straight and high. Let me increase as rivers do and gather Wisdom from hills and every rooted tree, Then let me go at last like quiet water Toward the sea. II. Pilgrimage The black stone: I carried it all the way up the mountain. When I came down, a piece of the moon was shining in my pocket. III. Stones Stones Those many shaped small smooth-polished pebbles Have been waiting so long For the ear that can hear How they cry out. The Pacific Boychoir Academy is one of the only full-time choir schools in the USA, and the only one on the West Coast. Continuum is a group of former boy choristers in grades 7-12 whose voices have changed. The Pacific Boychoir has appeared frequently with the San Francisco Symphony, and can be heard on the Grammy-winning recording of Mahler's Third Symphony with the SFS. The PBA has sung with the Moscow Chamber Orchestra, the Berkeley Symphony, the National Symphony Orchestra of Brazil, the UC Davis Orchestra, the American Bach Soloists, and the Youth Orchestra of the Americas. WORLD WORDS was written for the Albuquerque Boy Choir, directed by Ed Torrez, after my retirement as director. The words are paraphrased from the book "Worldwords" by Victor La Cerva MD, published by Heal Foundation Press. I. Nasha hozho (Navajo: To walk in the Beauty way) To walk in beauty Is to know the goodness of all creation. II. Kairos (Greek: Right timing/synchronicity) Trust that part of you always knows when to listen, That part of you always knows when to act. Honor the knowing of the other way to listen. Invite the rhapsody of committed surrender. III. Mitakuye oyashin (Lakota: We are related to everyone and everything) We walk through the earth with open eyes to be one with all that is. We accept our humble place in this vast creation to honor kinship with all that lives. O sacred candle of understanding, light our path, we are part of a great unfolding. We are related to life around us, we are part of the life-force of all creation. All things above us, all things below us, all honor kinship with all that lives. We honor kinship with all that has life. FOUR ZUNI-MOUNTAIN MINIATURES FOR CHAMBER ENSEMBLE was commissioned by the Ensemble of Santa Fe. This is a recording, made by musicologist Jack Loeffler, of the premiere performance in Santa Fe on March 3, 1985. My wife and I bought and fenced 20 acres of Zuni-Mountain land, to allow it to recover from years of overgrazing. I reveled in the beauty and used the piece as a kind of journal. Back in Albuquerque, I could recall the feel of the place in different seasons and at different times of day. SANTA FE MAGIC is a tribute to the life and work of Peggy Pond Church, whose words I used in "Enchanted Land" and in the three short pieces for the Pacific Boychoir. After she had to leave "the hills" (see "A Little Magic" above), she lived and raised a family in Santa Fe. She had a keen eye for the beauty and sacredness of WILDNESS-whether in nature or in people, themselves a part of nature. And what she saw, she put into words-every day, in her journals and poems. She was a gifted and prolific poet. After her death, I chose these three poems from the unpublished writings I was shown by Peggy's daughter, Kathleen, who narrates this recording, made by the Russian State Symphony Cinema Orchestra, conducted by Sergei Skripka: I. October Sundown Great clouds leap upward from the earth like flames Into a cold, blue sky. The mountains are a line of sharpened fire Quenched at their lowest slope by a dim tide of twilight. Golden leaves glimmer along pale rivers. Dark birds fly soundlessly in and out of radiance. Oh this is music written for the eye. It vanishes beyond the first white stars Like a chord held till the last echoes die Into a waiting silence. II. The Children The children are going to school: rivulets of color and curls, White shirts mother-ironed, the man-like tie, arms clutching books and bags. They gather from all directions as though it had rained on the hills, As though the rain had turned into children running downhill, Streaming through arroyos to the river. From the river they are caught like fish in a net, Lifted and sorted to sit in even rows all day, Being stuffed with learning, being caged and tamed. How quiet the fields are, how quiet the houses. All the human noise has gone downtown, The birds and the trees have the world to themselves. How long as it been since the children ran free on the hills? III. Ecstasy A lifetime of journeying among these bare hills, Past these escarpments, these wind and water sculptured sands. Remembering how, a child at the edge of the ocean, Watching the water slope back beneath the curved wave, She cupped the glistening grains under her small hands, Becoming a maker of what the sea would erase by morning. Time has more time to play at making mountains. There is no accounting, though, for this ecstasy of time past That penetrates the present moment. * * * Born in Texas in 1947, Michael Mauldin moved to New Mexico in 1971 for "the space, the light, and the timelessness," after completing a Bachelor of Music degree at Washburn University of Topeka. He completed a Master of Music degree at the University of New Mexico and served as president of the Albuquerque Music Teachers Association, the New Mexico Music Te

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Music for Piano

"Music for Piano" Notes: Peter Jancewicz became a composer after an injury to his hands forced him to stop playing piano for several years. After composing some music for students and since his hands were recovering, he decided to write music for his own performances. "Music for Piano" is a collection of favourite pieces composed since 2005 Evening Rain (2005) was the first successful advanced piece I composed. It is inspired by a lovely poem by Carlo Toselli, from a collection called "What is Time?". I stumbled across this poem because my wife Susan, also a piano teacher, taught Mr. Toselli's grandchildren, Domenic, Chiara and Francis Toselli. The book was given as a gift to Susan by the family, and I immediately fell in love with the poetry. An unusual feature of his poetry is that he has written it all in three languages: Italian, French and English. Fantaisie (2012) was inspired by and dedicated to a former teacher of mine, Jean-Paul Sevilla. As head of Academy Piano at MRU, I had invited Jean-Paul to come and give some masterclasses for our advanced students. One evening, after a busy day of music making, we were at dinner and he told me that he had always wanted to write variations on Purcell's aria, "If Love's a sweet passion, why does it torment?" from the Fairy Queen. He then suggested that I try it. I listened to the theme, but decided that I didn't really want to write variations on it. While he was visiting, though, I started playing with some other ideas for a new piece, and somehow fragments of the Purcell kept sneaking their way in. So, surrendering to the inevitable, I decided to write a fantasy using elements of the Purcell aria as a base. One can hear a direct quote from the theme near the end, although re-harmonized in way that most likely would have startled and perhaps dismayed Purcell. Three Haiku (2007) A haiku is a traditional Japanese poem. It consists of three lines with a total of seventeen syllables. The first contains five syllables, the second has seven and the third five again. They usually have an allusion to nature and the seasons. Three Haiku was inspired by the poetry of Inge Israel and dedicated to my former teacher, Helmut Brauss and his wife Kuniko. Susan and I were invited to dinner at their home in Victoria where we met Inge and her husband Werner. She was kind enough to give me a book of her poetry, which I read with delight. I loved the concise precision of the haiku form, and I found Inge's images captivating. The titles for the three pieces are my own, taken from the poetry: Ice Crystals, The Heron and Spider's Web. She has also written several other books of poetry which I highly recommend. To Quiet Lands (2008) was written for my mother, Elise Marie Therese van der Leeuw. I put her maiden name in here because she was intensely proud of being both Dutch and a van der Leeuw. At the time I was composing the piece, she was in the later stages of Alzheimer's disease and fading fast. For inspiration, I visited a website posted by Walter Aue (see below) and came across his translation of Waldlied (Forest Song) by Nicolas Lenau. Walter was also kind enough to give me permission to use his lovely photograph, "Leaves and Waves" for the cover of this CD. The poem suited my mood exactly, and I was inspired to write the piece. I gave the premiere in a recital at Leacock Theatre, Mount Royal University, Calgary four days before she died, February 13, 2008. I like to think that she was waiting for me to play it before she left. Beyond darkness, there lies light (2009) was written immediately following the death of my brother, Thom, on January 9, 2009. It was the day before his 50th birthday, and he inexplicably took his own life. As is often the case with suicide, nobody has any idea why he did it, although he struggled with bi-polar depression all his life. The title was paraphrased from a film, "Brick Lane". A young Bangladeshi woman is trapped in a loveless and apparently hopeless marriage in London, far away from home and her family. In a moment of desperation, she prays, "Beyond this darkness, let there be light." In Memoriam (2011) Dedicated to both my parents, Elise Marie and Wlodzimierz Karol Jancewicz. My father died in August 2011, the last of my immediate family. I had spoken with him the afternoon of his death from Johnson's Canyon, near Banff, where I was vacationing with Susan, my sister-in-law Gayle, and Grant and Ellaina, my brother Thom's children. He sounded fine on the phone. We returned that evening, and the phone rang during a big thunder and hail storm. It was the nursing home informing me that my father was on the way to the hospital. When we got to the hospital, we were informed that he had passed away. He was old and ill, and I believe more than ready to go, but it was still difficult for all of us. On the positive side, I think he generally had a good life, despite his continued struggles with bi-polar depression. Those with sharp ears will hear the "Dies irae" theme played in several guises. ...like the night of starry skies... (2012) After writing a series of pieces dealing with death and grief, my wife Susan thought it was time for me to write something in another vein. I agreed, and set out to write a beautiful piece. It was inspired by a lovely romantic poem by Lord Byron, and dedicated to Susan. Baetica Variations (2008) was written for and dedicated to my wife Susan. It is a set of variations written on the theme of the intermezzo from Manuel de Falla's Fantasia Baetica (1919). It was commissioned by and dedicated to Artur Rubinstein. I wrote the variations on a suggestion by Susan, and since her hands are small for a pianist, she requested that there be no large stretches in the piece. Susan asked me to write it without articulation markings to see if we felt the same way about the piece. We did. She also played some of the fast variations faster than I thought necessary. I came around to her way of thinking. "Provincia Baetica"is the old Roman name for the area along the Mediterranean in southern Spain known as Andalusia. Fans of Spanish music with sharp ears will notice a quote in one of the variations: the "Chanson du Feu Follet" from Falla's "El Amor Brujo".

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