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Wedding Auction 2: The Billionaire Borrows a Bride

Wedding Auction 2: The Billionaire Borrows a Bride: ab 2.99 €

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Charlie Borrows My Dream

Charlie Borrows My Dream: ab 9.99 €

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A poor girl's mother wants to make a good impression on her daughter's wealthy suitor and "borrows" a rich woman's apartment. / Swing musician Louis Jordan and his band pose as cowboys on a dude ranch in the all-black cast "Look Out Sister".

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Songs for a Sinister Woman

The debut album 'Songs For a Sinister Woman' by Avant-Americana group Tears of the Moosechaser borrows from a slew of genres from Folk Bluegrass to Industrial Metal: It might make you think: western disturbing dark moody rusty metal on the edge of a knife. Old photographs dirty wood aimless wandering revolvers.

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Drunken Moon

Kieren MacMillan's 'Drunken Moon' is the story of two characters: a woman seeking love, and the man she meets (or perhaps invents) in her quest for fulfillment. Subtitled a monodrama for two voices, this dramatic song cycle explores love's powerful and often contradictory emotions: desire and cruelty, pleasure and pain, ecstasy and melancholy. In the pursuit of her fantasy, the woman inevitably experiences uncertainties, disappointments, and eventually sadness. 'Drunken Moon' was conceived as a companion piece to Arnold Schoenberg's 'Pierrot Lunaire,' which can be performed immediately after it, without pause. Naturally, then, it borrows instrumentation, formal design, and even certain musical elements from Schoenberg's work. And it's emotional arc is designed to conclude precisely where Pierrot's journey begins, the two together perhaps offering something greater than the sum of their parts. But 'Drunken Moon' is also intended to stand alone as a complete artistic expression - a testament to the intoxicating power of love in all it's forms. Thomas Albert's 'Night Music' is composed in seven movements. The first, fourth and seventh are nocturnes, describing a stillness in which every motion and sound are magnified by their isolation. The second and sixth movements illustrate the extremes of the Arctic night. 'Stolen Night' borrows a little night musical material to limn a world at the summer solstice, when the sun won't set. The unending darkness of the winter solstice frames the waves and streamers of the northern lights in 'Aurora.' Denizens of the night inspire the third and sixth movements. 'Nightingale' is a playful homage, with recorded and transcribed birdsong laid over a slowly emerging presentation of Joseph Lamb's 1915 'Ragtime Nightingale.' A nightmare erupts in 'Incubus,' with an aggressive thirteen-note ostinato that begins in the lowest octave of the piano and moves through the full range and instrumentation of the ensemble.

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Trilaterus

The Music: Tango Sonata (2004-5): Imagine, if you will, a violin and piano duo in the smoke filled lounge of a luxury hotel in Buenos Aires. They start off their evening playing a romantic tango for the lovers dancing in the room. Then, surprisingly, the violinist and pianist take a break from their jobs and, dance a sexy tango with each other. Finally, to show everyone how it is really done, the violin and piano dance with violinist and pianist, or vice versa. In any case, they all dance a tour-de-force before collapsing with exhaustion at the end. Ghaleb and the Donkey (2004): is a short, sprightly, and enjoyable piece radiates nothing but happiness from beginning to end. It was commissioned by the Kayali Family, and tells the true story of Ghaleb, who, as a child dancer on stage in the Ballet, "Union Jack," at the New York City Ballet, had his foot stepped on by a live donkey. Ron witnessed this event from his seat in the orchestra pit and immediately got the idea to set it to music. The piece was choreographed for two boys by Michelle Mola. Ghaleb premiered the role of himself, and Craig Wasserman played the Donkey. It was performed at a New York City Ballet company party. The names of the very short movements are as follows: 1. Ghaleb Dances Happily. 2. The Donkey Enters. 3. The Donkey Gets Excited. 4. In His Excitement the Donkey Steps On Ghaleb's Foot. 5. Ghaleb Nurses His Wounds But Recovers Quickly. 6. Ghaleb Tames The Donkey And They Happily Dance Together. Enjoy!! Sonata for Double Bass and Piano (2003): is dedicated to Frank Proto, one of the deans of bass playing composers. Several years ago, Frank asked Ron to write a short piece for an album of music to be presented to their teacher, the eminent David Walter, on the occasion of his 90th birthday. Ron obediently fashioned a short work for solo double bass, and hasn't stopped writing since, hence the dedication, in deep gratitude for that small act of motivation which proved to be a life-changing event. The Sonata, probably the only work on this recording that can not readily be danced to, (and only because of it's unusual instrumentation) is one of the most ambitious solo works ever written for the bass, and borrows much from it's multi-functions as a jazz, pop, and classical instrument. There is no instrument with greater versatility. The piece makes use of a wide array of styles ranging from the classical Sonata-Allegro form, to impressionism, to more modern styles such as minimalism and those of the postmodern populists and crossover artists who utilize rock, and even bluegrass influences. Using various out of the ordinary techniques such as 5/4 time, double stops, portamenti, melodies in the extreme high tessitura, and an overall feeling of improvisation, it should prove to be an enduring work for the advanced soloist at the college to professional level. Trilaterus (2006): refers to three movements by three players, and has, as it's raison d'être, the bringing together of the three solo instruments on this recording. It's three movements are of such vastly different characters they could almost be considered different pieces. The first movement's title is a very simple numerical puzzle relating to the numbers of beats and measures in the piece, multiplied by the number of eighth notes in a beat. The second movement shows reverence to the old torch songs of Tin Pan Alley, and how they have been interpreted by jazz musicians over the years. The third movement is somewhat schizophrenic, successfully switching back and forth between a neo-baroque dance, and a postmodern, downtown, improvised, art-music mood. But once again, most of these pieces are eminently danceable, or at least subconsciously emulate dance music, which is something that Ron Wasserman, try as he might, simply can't escape from. His many years in the ballet orchestra pit seem to have permanently tattooed his musical sensibilities. Trilaterus is warmly and affectionately dedicated to Maria Asteriadou and Kurt Nikkanen in gratitude to the wonderful artistry they contributed to this recording and the creation of the piece. The Artists: Ron Wasserman, Composer Since his first recording was produced in 2004, Ron has had several interesting opportunities come his way. In July 2005, he received his first orchestral commission from the New York City Ballet to compose a short introductory fanfare celebrating the 40 year residency of the Ballet at the Saratoga Performing Arts Center that summer. In January 2005, Ron arranged several Astor Piazzolla Tangos to accompany the new production of Peter Martins' reworked ballet, "Todo Buenos Aires." He also wrote pieces for violin and piano to accompany various New York City Ballet educational programs, one of which involved Christopher Wheeldon extemporaneously choreographing short dances for children called onstage from the audience. His orchestral work, "Lament and Restoration," a 9/11 memorial concerto for violinist, strings, and harpsichord was recorded in 2004 by the micro-label Red Bandanna Records, along with his "Suite of Historical Dances." "Lament and Restoration" was previously performed in Sant' Oreste, Italy, and Nyack, New York. In May of 2005, "Lament and Restoration" was made into a ballet entitled, "Red Bandanna," choreographed by Margo Sappington for a performance by Valentina Kozlova and her Dance Conservatory Performance Project at Symphony Space in New York City. He has also composed several highly regarded arrangements of traditional spirituals, jazz numbers and rags for the Westchester Philharmonic and the New York City Ballet Orchestra. As a veteran of the classical music business, Ron has long been concerned with the financial health of the American symphony orchestra, and has dedicated himself to several imaginative fundraising efforts. He is extremely happy that at almost half of the proceeds from his first recording have gone to support the non-profit classical performing arts industry. In recent months of this writing he has finished part one of "Unrealized Dreams?" a song cycle for baritone and piano, with excerpts from recent presidential inaugural addresses as it's text, and several of what will ultimately be twenty-four preludes and fugues for piano in all keys somewhat in the style of Bach. Most ambitiously, he is working on a full-length children's ballet for orchestra to his own libretto. Ron always welcomes comments on his music and he can be contacted at ronwass@yahoo.com. Ron Wasserman, Bassist Since 1988 Ron has held the position of principal bass for the New York City Ballet Orchestra. He has also served or substituted as principal bass of many other orchestras including the Long Island Philharmonic, The Brooklyn Philharmonic, The American Composer's Orchestra, The Westchester Philharmonic, and the Bard Festival Orchestra. For the past several years he has substituted from time to time with the New York Philharmonic. In 2000 he appeared onstage at the New York City Ballet as a soloist in the Diamond Project ballet, "Appalachia Waltz," becoming one of the very few bassists to recreate the music of Edgar Meyer. He has also performed onstage in the above mentioned "Todo Buenos Aires." Before his orchestra career became full time, Ron played for many years as a jazz, pop, and commercial musician in countless of New York's sundry recording studios, Broadway theaters, concert halls, and clubs. In his earlier, more jazz oriented days he had the great pleasure of appearing with Dizzy Gillespie, Lionel Hampton, Don Elliott and others. Ron attended Indiana University, studying bass with Stuart Sankey, and jazz performance with David Baker. He studied with the late, great David Walter at both the Manhattan School of Music and the Juilliard School, where he received the Master of Music degree in 1985. Maria Asteriadou, Pianist Maria Asteriadou, a native of Greece, has established herself as a well known piano soloist and chamber musician in the United St

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Quicksand

A young man "borrows" $20 from his boss's cash register in an innocent act that sends him on a downward spiral of scheming and murder.

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Wanderer

The Wanderer is an unique and eclectic expression of music that borrows from styles past and present. The material, some original and some not, runs the gamut from Classical and Folk to music more contemporary and is filtered through the personality and fingers of Josh Philpott, a soft spoken musician from Tennessee, to present to you a rich colorful mixture of sound and tune that will stimulate your heart and mind. Through all this permeates such musical ideals such as strong melodies, intense rhythm, high amounts of expression, and just the right amount of surprise. The instrumentation is all acoustic and the sounds you will here include: guitar, acoustic bass, mandolin, fiddle, banjo, flute, string section, cajon, bongos, and vocals that will touch and excite you. The musicians include a number of different talents such as Josh Philpott, 2008 Tennessee state guitar champion, Jim Wood, five time Tennessee state fiddle champion, banjo extraordinaire Charlie Cushman, Tony Hartman with percussion, Alyssa Sumpter on flute and excellent singing from Inge Wood, Jessica Watson, and Chris Keller.

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Vox Balaenae

VOX BALAENAE The musical project: The spells generated from the Sea are really multiple: the scents of the waves, the colours of the sea bottom, the rainbows created by the waves, the voices of the marine animals and so on. The miracles of nature have always fascinated man: poets, writers, painters, sculptors have all tried, in their own arts, to recall and reproduce the majesty of the sea. Yet the musician has always made more than the other artists: through the ethereal language of music he has often tried to ravish and imitate the voice of the sea. Games of sounds, cries and voices have been reproduced in an evocative musical journey entitled Vox Balaenae: the listener is driven into a surreal and suggestive world in which all kinds of musical expressions are melted in a unique performance following a complex process of interaction. Vox Balaenae opens a new frontier in the world of contemporary art, breaking with the traditional representative patterns: a journey in which acoustic and electronic vibrations are melted and impressed on the disc to be infinitely reproduced for people living thousands of kilometers far from the charming places of the Sorrentine Coastline, the very place where live recordings have been made in suggestive grottos and gorges. In the Vox Balaenae universe listening, feeling and meditating change into a symphony of the senses where innovation and creativity are interwoven in a continuous dialogue among modern concepts, knowledge and techniques. In other words there is the transposition of the traditional live concert into a "sensorial disc". Vox Balaenae, a project wholly planned and cured by Alessandro Crosta and Nadia Testa, borrows it's title from the homonymous aquatic and evocative work composed in 1971 by George Crumb, an American composer now considered one of the best representatives of the musique d'avanguard. Inspired to a recording of the voices of whales, the first track imitates and transfigures the sounds of nature, which are musically ri-elaborated. The American composer, still living, has wisely reproduced the voice of the whale and all the sounds of the sea and it's creatures (such as dolphins, gulls and so on) by using classical instruments (such as the piano, the flute, the cello and the crotales) in an experimental way thanks to it's innovative techniques of amplification and technical exploration. Among the following tracks there are Vermont Counterpoint by S. Reich, and some reproductions of marine sounds lively recorded by Alessandro Crosta ad Nadia Testa. The musical journey starts from contemporary music to go back to the beginning of the XXth century with Debussy, whose music is proposed in a modernized polyphonic version: "The future as a mirror of the past". Tracks are preceded by the listening of natural samples recorded on the sea of Sorrento (natural set of the disc) which, insinuating in each gorge, succeeds in emanating voices of an uncontaminated nature, unique in the world. The Artists: Alessandro Crosta, Flutist Alessandro Crosta, polyflutist and composer, is a young Italian versatile and innovative musician. His repertoire goes from the traditional literature for flute to the contemporary music as well as the electronic one. In his performances he exhibits in a vast range of roles: he has played as a soloist flute with a lot of European Orchestras (Orchestra dei Professori del Teatro S. Carlo - Napoli, Orchestra Arcenciel - Zurich, Minsk Orchestra - Belarus, Plovdiv Orchestra - Bulgaria, Orchestra Craiova - Romania), he has toured with the Italian pianist Nadia Testa as well as with the Belgian "Le Vraie Note Trio", and he has worked with several composers like Roland Moser (Switzerland), Wolfgang Rhim (Germany) and Arnoldo Antunas (Brazil). He has been on concert tours to Italy, the USA, Israel, Spain, France, Egypt, Jordan, Mauritius, Seychelles, South Africa, Brazil, Morocco, Malta, Tunisia, Bahamas, Greece, Turkey, Holland, Belgium, Germany, Portugal, Grenada, Ucraine, the UK, Argentina, Croatia, Uruguay, British Virgin Islands, Reunion, Denmark, Switzerland, Senegal, Cyprus, Libya, Tenerife, Funchal, Antigua and Barbados. Several CD recordings show his inclusive musical interests. As a flute-collector, he usually makes exhibition-concerts showing and playing his instruments (about 40 ca. Ancient and modern flutes from the XVIIth to the XXth century). Playing ancient flutes he succeeds in reproducing sound now forgotten, while playing modern flutes he is able to create new sounds and unexpected atmospheres. Nowadays he is composing a new kind of music with electroacoustic techniques applied to Flutes. He took the first degree with full marks at the 'D. Cimarosa' Conservatory of Avellino (Italy) with Nicola Caiazza and the master summa cum laude at IMP "G. Braga" of Teramo (Italy). After perfecting his technique with Conrad Klemm, he moved to Switzerland where in 2005 he took the 'Konzert Diplom' at the Musikhochschule of Winterthur-Zurich with Matthias Ziegler. As a concert flutist Alessandro Crosta has won about 21 musical competitions and scholarships and has made many recordings for the Italian television broadcast RAI. Since 2000 he has been the Artistic Director of 'Gli Anniversari della Musica International Festival" of Avellino (Italy). He has published several books such as "Bellini, Verdi e Cimarosa", "Muzio Clementi", "Sergej Prokofiev", "Antonin Dvorak", "Luigi Boccherini", "Mozart e Schumann", "Grieg, Leoncavallo, Pleyel e Sibelius", "Puccini e Casella" and the first volume of the "Quaderni musicali del flauto traverso" dedicated to the piéce of Albert Roussel "Joueur de flutes". Now he teaches flute at the Italian Secondary Music School. Nadia Testa, Pianist Born in Avellino, Nadia studied piano with Carlo Alessandro Lapegna and graduated with full marks and praise at the 'D. Cimarosa' Conservatory of Avellino in 1983. At the age of 18 she made her international debut with orchestra in Switzerland, where she played Mozart Concertos with the Symphonic Orchestra of Sannio. Then she specialized in piano with Vincenzo Vitale, Franco Medori e Carlo Bruno. Later Nadia won a scholarship to study as a soloist with Aldo Ciccolini at the Biella Music Academy, where she took the degree in 1987. At the same time she has been a finalist in several national and international Competitions. After studying as a lyric singer as well as Psychology at "La Sapienza" University of Rome, in 2005 Nadia received her degree in the discipline of Art, Music and Show Performance at the "Braga" IMP of Teramo (Italy) summa cum laude. As a soloist pianist she has made many concerts in Italy (Bologna, Torino, Bergamo, Milano, Messina, Firenze, Pisa, La Spezia, Udine, Salerno, Sorrento, Napoli, Aosta, Siracusa, and Caltanissetta) and abroad (Belgium, Switzerland, Israel, Egypt, Brasil, South Africa, Spain, Morocco, Tunisia, Malta, Greace, Argentina and Uruguay). She has been a founder member and the President of the "Associazione Igor Stravinsky of Avellino since 1997. As an accompanist pianist Nadia has partnered a wide range of soloists, both instrumentalists and singers. Since 1998 she has been playing in duo with the Italian flutist Alessandro Crosta, making performances in various international festival. Their international debut was at the A. Scarlatti Auditorium during the "Festival for Bach Celebrations" of Naples in 2000, since then the duo has been regularly invited to play in many countries of Europe, North Africa and the USA, and has performed throughout the UK to critical acclaim. Their repertoire goes from the XVIIth to the XXth century music, including the contemporary one. From 1998 to 2003 she accompanied the flutist Conrad Klemm during his Italian master classes and made several recordings for the Italian television broadcast RAI. In 2000 Nadia founded the flexible chamber group Stravinsky Ensemble (piano, flute, strings and singers), one of the most appreciated ensemble in Southern

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One Two Three Go

THE DEMERITS ONE TWO THREE GO Because children have abounding vitality, because they are in spirit fierce and fee, therefore they want things repeated and unchanged. They always say, "Do it again", and the grown-up person does it again until he is nearly dead. For grown-up people are not strong enough to exult in monotony. But perhaps God is strong enough to exult in monotony. It is possible that God says every morning, "Do it again" to the sun, and every evening, "Do it again" to the moon... It may be that He has the eternal appetite of infancy, for we have sinned and grown old, and our Father is younger than we. The repetition in Nature may not be a mere recurrence, it may be a theatrical encore. --G.K. Chesterton, Orthodoxy One Two Three Go was made over the last weekend of January 2010 entirely in a kitchen, without multi-tracking or special effects, the music happened in real life pretty much as you hear it on the CD. Our music is rooted in the Irish and American folk traditions of jigs, reels, fiddle tunes, blues, and songs. Even the more outlandish original compositions have their origin in one or more kinds of indigenous music. OK, then. About the tunes: ONE TWO THREE GO Composed by John Mortensen John wrote this tune one day at home after finding a really neat chord progression on the mandolin. The tune sounds like something wonderful is about to happen: hence the lyrics. Listen for a familiar hymn tune in there somewhere. THE OTTER CHOP Traditional. Arranged by John Mortensen Three traditional reels make up this set: Down the Broom, The Otter's Holt, and The High Reel. The term chop refers to the rhythmic sound the fiddles make at 1:24 and elsewhere, it's a down home rhythmic way of playing the fiddle and is derived from mandolin playing. KEEP MY SKILLET GREASY Traditional. Arranged by John Mortensen This is an old tune about hard times. John found it in a book somewhere. He wrote the second and third verses. Though the song comes from the American black tradition, this arrangement borrows from the European jazz style of Django Reinhardt and Stephane Grappelli. Well, the times are very hard, gonna buy a sack of lard: Gonna keep my skillet greasy if I can. Gonna go to old man Gene's, buy myself a sack of beans: Gonna keep my skillet greasy if I can. Chorus: If I can, can, can, if I can, can, can: Gonna keep my skillet greasy if I can. Well, my coffee's about to boil: made of dirt and motor oil. Gonna keep my skillet greasy if I can. Now my coffee's gotten cold, probably cuz it's three days old. Gonna keep my skillet greasy if I can. Chorus Well, my pig looks also forsaken cuz tomorrow he'll be bacon: Gonna keep my skillet greasy if I can. And my horse is acting blue cuz tomorrow he's fondue: Gonna keep my skillet greasy if I can. Chorus MONKEYBRAINSHISHKEBAB Composed by John Mortensen This is a little instrumental named after a fine afternoon hiking in the woods. John's kids noticed the osage oranges lying on the ground. One of them commented that they look like monkey brains. A game ensued involving the kids throwing osage oranges into the air and John trying to impale them on a dagger as they descended (the oranges, not the kids). Hence, the game was named Monkeybrainshishkebab. FAREWELL TO IRELAND Traditional. Arranged by John Mortensen and The Demerits A more traditional Irish tune you cannot find. Listen to it get faster as it goes. A TRIP TO GAZOOMINAW Composed by John Mortensen Gazoominaw is one of the many made-up lands created by John and Linda's kids. At one point it was suggested that it was home to wild boars and other unspeakable dangers. One Irish tradition is to name tunes after trips (A Trip to Skye, A Trip to Dublin). While the main tune could be considered to resemble a jig, the composition quickly outstrips the usual confines of traditional tunes and wanders far and wide. THE JUG OF SWEDISH FISH Traditional. Arranged by John Mortensen Here are some jigs for you. The first is known as The Swedish Jig for reasons which are not entirely clear or trustworthy (possibly because of it's odd harmonic wandering into the wrong key?). It is followed by The Ugly Fish, a willful and odd tune which tries to be in both six-eight and three-four time. Next comes the Jig of Slurs (known in Irish circles as The Jug of Slugs). For an ending we hear part of the Swedish Jig (the good part) one more time. SWEET IS THE SOUND Composed by John Mortensen John wrote this over Christmas break in 2009. The lyrics draw from an old-time folk tune called Cotton-Eyed Joe, the poetry of George Herbert (1593-1633), and the 150th Psalm. If you want to know what it means, you have to work it out for yourself. Get out your fiddle, your bow prepare: Play an old tune called Were You There? Wood becomes music, song springs from grain Only when touched by hammer and stain. Chorus: All that has breath, breathe out your part, Awake and play with all your art. Heaven come down, sky meet ground: sweet is the sound. Tune up your guitar, search for the chord: Play a new tune called All Things Restored. Like stretched sinews, by tuning stressed, So all strings must learn what key is best. Chorus LUCKEY HASKINS Composed by John Mortensen Luckey Haskins is an exit off I-75 in northwestern Ohio. It is a barren and desolate place in desperate need of interesting events. If someone made a movie about a fantastic story that took place there, this composition would be the film music. John loves the name because it sounds like it could be a guy's name or possibly a board game. Or a ride at the county fair. LUCY'S REELS Traditional. Arranged by John Mortensen Some more traditional Irish tunes for you. They are: Lucy Campbell's Reel, Lexie McAskil's, Sporting Paddy, and The Barrowburn. SAM-N-EM Composed by John Mortensen John wrote this to give the fiddlers something to do. The first theme is played all together by the fiddles and mandolin. Then Emily gets a turn to solo. Back to the main theme. Then Sam has to shred a solo. Main theme. Then appears a joyful tune, which is more or less a reel in A major. The fiddlers play it together. Turns out playing together is even more fun than playing solos. ROUSTABOUT Traditional. Arranged by John Mortensen This traditional song is also known as Lulu Gal. It's about a girl who is always in trouble, as told from the point of view of the guy trying to get her out of trouble. Where did you get them high top shoes? That dress that you wear so fine? I got my shoes from a railroading man. My dress is from a driver in the mine. Chorus: Hop high, hop high, hop high, my Lulu gal. I'll pawn you my watch and I'll pawn you my chain, I'll pawn you my gold wedding ring, To pay my little Lulu's fine, I'll pawn you my wagon and my team. Chorus Where have you been, my pretty little gal? Where have you been so long? I've been in the pen with the rough and rowdy men, And honey, I'm going back again. Chorus.

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